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LIBRARYSITYOF
SAN DIEGO
(Jtiu0tctdn5
EDITED BY
FREDERICK J. CROWEST
The
Master Musicians
Edited byFREDERICK J. CROWEST
Author of" The Great Tone Poets,"
&c. &c.
The Daily Chronicle says :
" Theseries forms a very convenient andreadable epitome of musical bio-
graphy."
The Daily Telegraph say* : "TheMaster Musicians series possesses adistinct value and interest.
'
BEETHOVEN. By F. J. CKOWKST.[Fourth Edition.
WAGNER. By CHARLES A. LIDGEY.{Second Edition.
BACH. By C. F. A. WILLIAMS.[Second Edition.
CHOPIN. ByJ.CUTHBERTHADDEN.HANDEL. By C. F. A. WILLIAMS.
[Second Edition.
MENDELSSOHN. By S. S.
STKATTON. [Second Edition.
SCHUMANN. By ANNIE W.PATTERSON.
MOZART. By E. J. BREAKSPEARE.
HAYDN. By J. C. HADDEN.[Second Edition.
SCHUBERT. By E. DUNCAN.
IN PREPARA TION.
TSCHAIKOWSKY. By EDWINEVANS.
BRAHMS. By J. LAWRENCE ERB.
J. M. DENT & CO.
29 AND 30 BEDFORD STREET, W.C.
All rights reserved
Schubert
By
Edmondstoune Duncan
With
Illustrations and Portraits
London: J. M. Dent & Co.
New York : E. P. Button & Co.
1905
Author's Preface
No better apology can be offered for the appearance of
this little book since it is the custom of book-writers to
apologise than that the English biographies are now
mostly out of print ;and those which are not out of print
are out of date. For example, the English translation of
Kreissle's "Schubert" 1 the chief life and Wilberforce's" Franz Schubert," not to speak of some of the popularGerman biographies, such as Reissmann's, being out of
print, are difficult to obtain; and, in the event of a reprint,
to be of any use they would need to be largely re-written.
The reason of this is to be attributed to the publication
by Messrs Breitkopf & Haertel of the complete works of
Schubert. For with the completion of that great under-
taking, all conjecture and speculation regarding the com-
poser's MSS. were finally disposed of. Instead of the
mere mention of the names of his works though that
was valuable enough when, in 1874, Nottebohm issued
the famous catalogue the public has now before it the
full and complete life-work of FRANZ SCHUBERT. By the
publication referred to, Messrs Breitkopf & Haertel
augmented the printed works of our composer by someone hundred and fifty songs, six symphonies, a dozen scores
of operas, operettas and dramatic works, many quartets,
sonatas, and a vast number of pieces of every possible1By Mr A. D. Coleridge.
Author's Preface
variety and combination, beautifully set up, and edited
with notable care and attention.
Writing in the Neue Zeitschrift fur Musik for 1840,Robert Schumann remarked that "
if fruitfulness is recog-
nised as the principal sign of genius, then Schubert was of
the greatest. Though he lived little more than thirty
years, he has written an enormous quantity, of which onlyhalf is yet printed, while another part is now awaiting
publication ;and a still larger portion will probably not be
published for a long time to come, if indeed ever."
About fifty years after these remarks were penned,Schubert's complete works appeared thus offering the
highest possible tribute to the memory of their illustrious
author.
The wonderful vitality of his music is brought home to
us the more we study it. With Schumann we may truly
exclaim :
"IT CARRIES WITH IT THE GERMS OF
EVERLASTING YOUTH."
E. D.
May i, 1905.
Contents
BIOGRAPHICAL
Birth and parentage A friendly joiner's apprentice First lessons
Schubert enters the Convict Extract from Schubert's first letter
Music at the Convict Franz becomes leader of the orchestra Thehome quartets Influence ofthe stage Early school friends Schubert
leaves the Convict A first romance His first Mass Mayrhofer the
Poet Birth-day customs "The Erl-king"
Schubert seeks an ap-
pointment A new friend Salieri's Jubilee A first money-transaction.
Vogl appears on the scene Rossini draws the town The split with
Salieri Schubert becomes music-teacher to the Esterhazys" Com-
posing like a god" Good friends with everybody Back in town
Music in place of dinner The eight Schellmann girls A newspapernotice Operatic performances A critic discovers glimpses of talent
Ornamental testimonials A first publication" The Erl-king
"
Successful dedications Schubert meets with Beethoven and WeberThe "Unfinished" symphony Weber First puppies and first
operas Ill-health Two operas for nothing Schubert in love Amusical clock Themes from an Hungarian kitchen " Coelum non
animum "Schubert and Vogl as minstrels A heavenly valley
Candidate fora post Scene at an opera rehearsal A gift from the
Musik-Verein The ways of publishers Beethoven's last illness Hestudies Schubert's songs A tragic toast A Feat At the sign of the
"Blue Hedgehog" Schubert's last year A Trio for vjs. 6d.
Schubert goes to hear Paganini Songs at tenpence a-piece Com-
poses a Fugue His last lodgings Mortal illness Friends in his need
Schubert's last letter In the valley of the shadow The funeral
Grave memorials The monument .....THE MAN
Complimentary descriptions by friends Portraits Schubert's character
Religion Friends Acquaintances A lost opportunity Mutualfriends Schubertiaden Leaves from a Diary Country visits
Contents
PACKMistress and Maid Vienna Daily habits Taverns, their ad-
vantages and disadvantages Schubert as a poet A bad business
man Mayrhofer's view of Schubert's circumstances Sense of
humour His laugh Nicknames Value of the Diary and private
writings "My dream" Diary for 1824 Literary tastes Schu-
bert's effects . , ..: .
'
. . . . .81
THE MUSICIAN
Family quartet grows into an orchestra Feats in musical compositionRevisions and corrections Song-writing Zumsteeg and Schubert
KingofThule Poets set by Schubert Breitkopf and Haertel's edition
ofthe songs "TheErl-king" English songs "Die Schone Mullerin"" Winterreise
" "Schwanengesang
"Opera Why Schubert
failed Librettists Schubert gives a concert Sacred music Anoratorio written in secret Music in chalk Mass in E flat Schubert
as a pianist and composer for the pianoforte He breaks down in his
own piece Pianist's point of view The theorists G major Sonata"Op. 53" Sonata in A minor String quartets Schubert's music in
England Treasure trove Schubert's combinations The symphoniesL'Envoi ......... 121
APPENDIX A
Bibliography ......... 229
APPENDIX B
List of the published works of Schubert, founded on Breitkopf and Haertel's
complete edition, and compared with Nottebohm's Thematic catalogue 239
APPENDIX C
Principal incidents in the life of Schubert . > . . . 254
APPENDIX DSchubert personalia and memoranda . . 255
INDEX ..... 275
viii
List of Illustrations
PORTRAIT OF SCHUBERT (from Rieder's water-
colour painting, by permission of Messrs
Breitkopf & Haertel) PHOTOGRAVURE . FrontispiecePAGE
SCHUBERT'S BIRTHPLACE (from a drawing by
J. A. Symington) .... To face 2
AT ATZENBRUCK (from" The Musical Times"
ofJanuary 1897, by permission of Messrs
Novella 6" Co., Ltd.} . . . 94
VIENNA, LOOKING ACROSS THE GLACIS (froman old engraving) . . . .,,100
FACSIMILE OF PAGE FROM MS. OF C MAJORSYMPHONY (from
" The Musical Times "of
January 1897, by permission of Messrs
Novella <&- Co., Ltd.) . . . 126 -
FACSIMILE OF PAGE FROM MS. OF "THEERL-KING" ..." 142
FACSIMILE OF WALTZ BY SCHUBERT (in the
Berlin Royal BibliotheK) . . . 188
PORTRAIT OF SCHUBERT (from a lithograph
made in 1846 by J. Kriehuber) . . 222
IX
Biographical
Birth and parentage A friendly joiner's apprentice First lessons
Schubert enters the Convict Extract from Schubert's first letter
Music at the Convict Franz becomes leader of the orchestra Thehome quartet Influence ofthe stage Early school-friends Schubert
leaves the Convict A first romance His first Mass Mayrhofer the
poet Birthday customs The "Erl-king
"Schubert seeks an ap-
pointment A new friend Salieri's Jubilee A first money-transac-tion Vogl appears on the scene Rossini draws the town The split
with Salieri Schubert becomes music-teacher to the Esterhazys' '
Composing like a god" Good friends with everybody Back in town
Music in place of dinner The eight Schellmann girls A newspapernotice Operatic performances A critic discovers glimpses of talent
Ornamental testimonials A first publication The "Erl-king"Successful dedications Schubert meets with Beethoven and WeberThe " Unfinished" Symphony Weber First puppies and first operas
Ill-health Two operas for nothing Schubert in love A musical
clock Themes from a Hungarian kitchen " Coelum non animum "
Schubert and Vogl as minstrels A heavenly valley Candidate for
a post Scene at an opera-rehearsal A gift from the Musik-Verein
The ways of publishers Beethoven's last illness He studies Schu-
bert's songs A tragic toast A feat At the sign of the Blue Hedge-
hogSchubert's last year A Trio for 173. 6d. Schubert goes to hear
Paganini Songs at tenpence a-piece Composes a fugue His last
lodgings Mortal illness Friends in his need Schubert's last letter
In the valley of the shadow The funeral Grave memorials Themonument.
FRANZ PETER SCHUBERT was born in Vienna on Jan.
31, 1797, and, according to the zu dem Heil parish
register, was baptised in the Catholic Church on the
Schubert
following day. The house where he was born with its
sign" Zum rothen Krebsen "
(the Red Crab) is situate
. ., , at No. 54 Nussdorferstrasse, though inBirth and u v* 7i *. i XT
p . Schubert s day it was known as No. 72
Himmelpfortgrund (Gate of Heaven), in the
Lichtenthal district of the city. His father, from whom he
took the name Franz, was the son of a Moravian peasant,and came from Neudorf. He would be about thirty-three
when little Franz was born. He had studied and settled
down in Vienna, where his integrity and ability gained the
respect of all who knew him. From 1784 to 1786, he
was assistant schoolmaster to his brother, who had a small
educational establishment in the Leopoldstadt district of
Vienna. Franz's father then obtained an appointmentas head of the school, in the parish zu den heiligen
14 Nothhelfern, in the Lichtenthal district, a postwhich he held for some thirty-one years, indeed until
he proceeded to a similar but better school-appoint-ment in the Rossau. At the age of nineteen (about
1783) he married Elizabeth Fitz, a Silesian, who, like the
mother of Beethoven, had been in service as a cook.
From this union there resulted a large family, numberingno less than fourteen children, nine of whom died in
infancy, and one only Ferdinand (born in 1794) comeswith any degree of prominence into the course of this
biography. It may be mentioned, however, in passing,that the first child was Ignaz (born 1784), who, like
Ferdinand, became a schoolmaster, the last member beinga girl named Therese. Five more children were added to
the Schubert household thus numbering nineteen by a
second wife, whom schoolmaster Franz espoused in 1812.
A good account of the early years of Schubert's life is
Schubert's Birthplace
(front a drawing by J. A. Symington)
First Lessons
furnished by the composer's father, who outlived him sometwo years.
" When he was five years old," says he,"I
prepared him for elementary instruction, and at six I sent
him to school, where he was always one of the first amonghis fellow-scholars. He was fond of society from early
youth, and was never happier than when he could spendhis hours of play in a circle of joyous comrades. Whenhe was eight, I gave him preliminary instruction on the
violin, and let him practise until he could play easy duets
pretty well : after that, I sent him to attend the singing-class of Herr Michael Holzer, choirmaster in Lichtenthal.
Herr Holzer often^assured me, with tears in his eyes, that
he had never had such a pupil.' Whenever I want to
teach him anything new,' he would say,'I find he knows
it already. The result has been I have not givenhim any real instruction, but have only looked on himwith astonishment and silence.'
"Franz's talent for music
was soon discovered. His sister, Therese, states that the
lad made friends with a joiner's apprentice a namesakeand relative who used to delight in taking him to a piano-forte warehouse, where the child would try his small fingerson the fine new resonant instruments, which were in
marked contrast to his father's worn-out chopping-board
(" Hackbrett "). Schubert's two brothers Ignaz andFerdinand had both studied the violin and piano-
forte, and Franz was now receiving lessons on the
latter instrument from Ignaz. He is said to havebeen extremely conscientious in his tuition. YoungFranz, however, proved so quick to learn, and so in-
dustrious in mastering difficulties, that the master wassoon overtaken. Elder brothers are rarely lenient critics,
yet we find Professor Ignaz confessing as follows :
"I
Schubert
was amazed when Franz told me that he had no need of
any further instruction from me, and that for the future he
would make his own way. And in truth his progress in
a short period was so great that I was forced to acknow-
ledge in him a master who had completely distanced and
outstripped me, and whom I despaired of overtaking."From the singing-class of Holzer and the piano lessons of
brother Ignaz, Franz soon progressed to regular instruction
in thorough bass, singing and piano and organ playing,
under the skilled guidance of Holzer. Upon hearing his
pupil extemporise on a given subject, the master exclaimed," The lad has harmony at his fingers' ends." He began to
compose at an extremely early period. Ferdinand states
that Schubert's first pianoforte composition was a Fantasia
for four hands,1 written in 1810, and that in the following
year he wrote the "Klagegesang der Hagar," his first
song ;but Kreissle says there is no doubt that before this
period he had written songs, piano-pieces, and even string-
quartets, adding that with the single exception of Mozart,"we shall probably find that in none of the great musicians
was the creative faculty awakened so early, or made its
way with such irresistible power, as in Franz Schubert."
At the age of eleven, Schubert made his first appearancein public, at the Lichtenthal parish church, where his
fresh young voice and expressive, delicate manner of
singing attracted much attention. Upon occasion, too,
his violin was employed in the service of the church.
Here it was that he gained his earliest impressions of
sacred music afterwards to bear such good fruit in his
1 This is sometimes erroneously mentioned as "The Corpse-
Fantasia" ;but the latter is in reality an early setting of Schiller's song
entitled" Ein Leichenfantasie."
At School
noble Masses, the Song of Miriam, Lazarus, and the
setting of " The Lord is my Shepherd." His father nowfound little or no difficulty in getting the boy into the
Emperor's choir, and in consequence, Schubert becamea pupil of the Convict school which was ,
attached. He had remained at home until
his eleventh year. In October 1808 he was
called upon to give evidence of his ability before the
school authorities. The Convict was a foundation school
of a kind popular in Germany. These were generallyin touch with the Convent system, and supported byState, or private endowment. Franz, arrived at No. 45in the Piaristen Gasse, Josefstadt, spectacled and clad in
his light grey suit, did not escape the chaff of his fellow-
competitors, who nicknamed him the miller, and pretendedhe must necessarily succeed. Put to the trial, before the
two Court Capellmeisters, Salieri and Eybler, and singing-
master Korner, the little grave-looking candidate acquittedhimself so cleverly in his singing of the test-pieces that
he was straightway admitted, and (to his great content)
exchanged the modest miller suit for the brave gold-laceduniform of the Imperial school. Music had been in some
neglect at the Convict, in common with other Viennese
academies, owing to the persistent attentions of Napoleon.
During the first year of Franz's pupilage, little systematicwork could be expected. Vienna surrendered for a second
time, on May 13, 1809, and it was not until October 14that the treaty of peace was signed and music resumed
her quiet sway. At the Convict, where Schubert was
receiving a free education, there were drawbacks common
enough to many of the early nineteenth century boardingestablishments. The practice-rooms were cold and bare
;
Schubert
the food was insufficient;no wonder, then, that we find
young Schubert appealing to his brother for help."I've
been thinking a good long time about my position," writes
he to Ferdinand on November 24, iSiz,1 "and find that
it's all very well on the whole, but that in some respectsit can be improved. You know from experience that one
can often enjoy eating a roll (" Semmel ") and an apple or
two all the more after eight and a half hours' fast, with
only a meagre supper to look forward to. This desire has
become so pressing that willy-nilly I must make a change.The two groschen that father gave me are gone in the first
few days. If, then, I rely upon you, I hope I may do so
without being ashamed (see Matt. ii. 4). So also thoughtI. How would it be if you were to advance me a coupleof kreuzers monthly? You would never miss them,whilst I could shut myself up in my cell and be quite
happy. As I said, I rely on the words of the Apostle
Matthew, who says :
" Let him that hath two coats give
one to the poor."2 Meanwhile I trust you will listen to
the voice which unceasingly appeals to you to remember
your loving, hoping, poverty-stricken and once again I
repeat, poverty-stricken brother FRANZ."
The poverty-stricken schoolboy was not the first whohad quoted scripture to some purpose ;
and thoughwe have no record, doubtless the tender-hearted
Ferdinand sent him the couple of kreuzers for the
1 In 1812 Schubert's mother died ; but there is nothing remaining
but the bare record of the fact, unless the" Trauermusik fur Blasinstru-
mente"has reference to that event.
2 Both references are misleading."
I trust in Thee : let me not be
ashamed"(Psalm xxv. 2).
" He that hath two coats, let him impart
to him that hath none" (St Luke iii. 2).
6
Early Ideals
Semmel and apples. As far as Schubert was con-
cerned, the most conspicuously useful feature of the
Convict school curriculum lay in the daily orchestral
practices held. Symphonies and overtures were in
regular rehearsal. Composers of the highest order were
drawn upon, such as Haydn, Mozart and Beethoven,and many writers of lesser degree, as Cherubini, Mehul,Krommer and Kozeluch. Of these, as was natural,
Schubert liked his Haydn, loved his Mozart, and
worshipped his Beethoven. The smaller men, however,were by no means despised, for we read of the youngster
taking up cudgels in defence of Kozeluch, as against
Krommer, whose symphonies were deservedly popularat the time of which we are writing, on account
of their tunefulness. Mehul was admired, but not
in the same manner as Mozart, whose overtures to
Figaro and the Magic Flute, were first favourites.
At these practices, Schubert began with a modest seat
behind the leader of the violins Josef von Spaun.
Looking over his shoulder, at the first appearance of
young Franz, Spaun was much pleased with the clever
way in which the new recruit acquitted himself. Soonthere sprang up a great friendship between the two pupils,
though Schubert was nine years Spaun's junior. Franz
confided in him that he had already composed much,that he could not help it, and that he should do so every
day, could he but obtain the necessary manuscript paper.With all the generosity of a young man of twenty, Spaunseized the enviable opportunity, and young Schubert
lacked not of music-paper for many a long day. For
this and for other kindly acts, Spaun's memory will
always be held in grateful association with Schubert's.
Schubert
Franz quickly advanced to the leadership of the orchestra,
where it is said he exercised a notable influence on the
T j. f
morale of the band of youthful players.
,-. .j When the director Ruczizka was absent,Orchestra .. c , , , . , .
, TT .
it was Schubert who took his place. His
wonderful gifts, no less than his earnest manner and frank
disposition, wrought a wonderful effect on his fellow-
students. The practical gain to himself was great and
far-reaching. One may turn to such works as the" Unfinished
"symphony or the great
"C-major
"
symphony, and the influence of those early days maybe traced in the sureness of touch, the delightful practi-
cability which the individual players enjoy in their parts,
and above all, in the supreme mastery which the composerhas of the whole orchestral machine, familiar to the boy,and commanded of the man.
In the matter of general education, the subjects taughtat the Convict are known to have included French,
Italian, Mathematics, History, Geography, Drawing and
Writing. It is noteworthy also that there were two pro-fessors of Poetry. The establishment was directed by DrInnocenz Lang, the Curator being Count Dietrichstein,
while the general staff included preachers, catechists, an
inspector, and regularly ordained priests who served as
visiting-lecturers. During his first year Schubert ac-
quitted himself creditably enough, but after that his
musical faculty began to assert itself so undeniably that
his other studies were cast in the shade, or neglected.It is therefore more than probable that Schubert's
scholarship was a negligible quantity, though his fine
natural taste would carry him far beyond ordinaryattainments.
8
" He is a Genius"
Salieri was the first to recognise Schubert's supreme
gift, and he placed him with Ruczizka for lessons in
composition. Before long the pupil so astonished his
teacher, that he reports to his chief Salieri that" the
lad knows everything already; he has been taught byGod." Salieri himself then took Schubert in hand.
The accomplished Italian was a handsome man, with an
expressive eye, a quick temper, and a great reputation.He soon perceived that in
"Hagars Klage
"(March
30, 1811) and some string quartets, there was genius of
an unusual order." He can do everything," exclaimed
he of Schubert," he is a genius. He composes songs,
masses, operas, quartets whatever you can think of."
Schubert used to go to his house in the Seilergasse,
carrying a large roll of MSS. under his arm, for the
master's verdict and advice. The lesson over, he wouldthen commonly steal into a neighbouring wine-shop,where he would chat for hours over a glass with friend
Doppler. These lessons extended over the five years
1813-1817, and were thus begun in the last year of
Schubert's stay at the Convict, and continued long after.
On Sundays and holidays, the boy commonly took part in
quartets, some of which were of his own composition"taken scarcely dry from his desk," says Kreissle. It
is a pleasant picture of home life to see father Franz
seated at his 'cello earnest enough, but none too
accurate with brother Ferdinand as leader, and Ignaz
taking second violin, while Franzl (in his spectacles)
cleverly handles his viola, keeping a sharp eye on his
father, whose slips, if recurring, would be gently pointedout with " Herr Vater, there must be a mistake some-
where." Besides the quartets, the years 1811-12 saw the
Schubert
composition of variations, a sonata, and several choral
pieces. There was also a cantata for three male voices
and guitar, written for his father's birthday, Sept. 27,
1812; and finally, as the crowning effort of his school-life, a
first symphony (in D), dated Oct. 28, 1813, which was per-
formed on the birthday of Dr Lang, director of the Convict.
The theatre cast its spell on Schubert while he was yeta pupil of the Convict. Weigl's Waisenhaus, givenDecember 12, 1810, was the first opera he heard. In
the following year he witnessed a performance of the
same composer's Schweizerfamilie, with Vogl andAnna Milder in the principal parts. Other operas which
impressed the young musician were Spontini's LaVestale, Cherubini's Medea, Boildieu's Jean de
Paris, Isouard's AschenbrMl, and above all, Gluck's
Iphigenia in Tauris, which he saw on April 5, 1815,when Vogl and Milder took the chief roles. Bauernfeld
states that this performance led to Schubert's carefully
studying Gluck's scores : which, it may be added, hadthen recently been published by Trattnern of Vienna.
The first-fruits of these early impressions of the theatre
appeared in 1814. Josef Hiittenbrenner has left it onrecord that when Salieri told Schubert that he was com-
petent to attempt an opera, the pupil stayed away from
his lessons for some weeks. He then made his appear-ance before his astonished teacher with the full-score
of a completed opera, namely, Des Teufels Lustschloss
(a three-act piece written by Kotzebue). Kreissle
explains that Schubert left two versions of this work,
and that it was the second version with which Schubert
astonished Salieri. The original score was carefully
preserved, and came into the possession of Dr Schneider.
School Friends
The rearrangement (in its MS. form) was given to Josef
Hiittenbrenner, in payment of a debt. A portion of this
MS. (indeed the whole of the second act) was used byHiittenbrenner's servants to light a fire, and thus
completely destroyed (1840).The art of making friends, and of keeping them,
was no secret to Schubert. More than ~ ,
one friendship, formed at the Convict,c. ,
i L j A.I. L vr T r o Friendslasted throughout life. Josef von Spaun,the oldest boy, when Schubert entered as a pupil, soon
became one of the composer's staunchest supporters.Then there was Josef Kenner, an accomplished amateur,three of whose poems Schubert afterwards set to music.
Another friend was Anton Holzapfel, a fine tenor singerand an excellent 'cellist, who afterwards took up law for
his living. Nor must we forget Albert Stadler, whobecame a barrister by profession, and in his spare time
cultivated pianoforte-playing and composition. Therewas also Senn, the gifted and impetuous poet, who turned
misanthrope, and came to an untimely end. Rand-
hartinger was also a contemporary scholar with Schubert,and he, like the others, maintained a life-long friendshipwith the composer.
1
There is little or nothing known of Schubert's singingand vocal study with Korner during his residence at the
Convict. His voice broke in 1813, and though he
1 Kreissle mentions the following additional names of scholars
Schubert would meet during his career at the Convict : Leopold
Ebner, Max Weisse, Franz Milliner, Josef Kleindl, Carl Rueskafer,
and J. B. Wisgrill. Those who belonged to the school orchestra
were Spaun and Kleindl (first violins), Holzapfel ('cello), Senn (horn),
and Randhartinger (drum).
II
Schubert
would now be of little use to the Imperial choir for sometime to come, the Convict authorities, with the direct
sanction of the Emperor, it is understood, were preparedto grant him a place on the so-called Merveldt foundation,
provided he submitted to examination and continued
the higher classical studies. This would seem to have
been utterly distasteful, and he promptly turned his back
on both examination and scholarship. The decision he
arrived at is said by Spaun to have been largely broughtabout by Theodor Korner, the soldier-poet, who chanced
to be in Vienna during the years 1811-1813. Schubert
had made up his mind to follow music, devoting his
whole time to her. Nothing should come between himand the divine call. No man ever stepped forward to
face his destiny more light-heartedly; none was ever
better entitled to dream of success;and yet, the sequel
will show that with a commanding genius, an ease of
production never paralleled in the annals of music, and
possessed of a contented spirit that could have vied with
a Vicar of Wakefield, Schubert was still to go down to
posterity as a man of broken fortunes one whose ability,
though it might enchant the civilised world, could not
(or at least did not) succeed in keeping the wolf from
the door during the thirty-one brief years of his life.
Thus Schubert left the Convict. One of his friends
stated that he ran away ;but this was indignantly denied
by Albert Stadler and other of his contemporaries. In
order to qualify as a teacher, Franz now entered the
normal school of St Anna, where he spent the educational
term 1813-14. He had been summoned three times,
says Ferdinand, for Conscription, and it was in order to
escape that evil, or just possibly to please his father, who
12
As School-teacher
seems to have tried to break him off the habit of com-
posing, that he now agreed to become one of the
elementary teachers in his father's school. Here he
passed three years of severe drudgery, for which so
sensitive a nature was wofully ill-fitted; though it is
greatly to his credit that the duties undertaken were
faithfully discharged. His spare time was devoted to
composition, which was never more prolific than duringthese teaching days. No less than 250 songs were
composed between 1814 and 1816, while during the
year 1815 alone, 146 songs found their way into
existence. One is scarcely surprised to discover that our
teacher's patience was severely tried. His sister Therese
says that Franz was actually severe and bad-temperedwith his pupils, and that " he often kept his hands in
practice on the children's ears." According to one
Schmidtler, it was after a smart box on the ear ad-
ministered to a stupid girl, that Schubert's father was
extremely indignant with his son's methods of punish-
ment, and that the incident led to his dismissal.
Schubert was accustomed to visit a certain family namedGrob. The widow was owner of a silk-factory in Vienna,and was highly cultured and well circumstanced. Her
daughter, Therese, whom Schubert greatly admired, was
beautiful and exceedingly accomplished as a singer, her
voice being a high soprano. She often tried over his
latest songs, while a " Tanturn ergo" and a " Salve
Regina" were specially composed for her voice. The
brother, Heinrich, was a good 'cellist and pianist. In
after years (in the absence of Holzer) he occasionallydirected the music at the Lichtenthal parish church, in
conjunction with Schubert, who would sit listening in the
13
Schubert
nave while Heinrich. conducted. In this accomplished
household, young Franz was as an adopted son. Herehe would seek relief from the harassing cares of his daily
task, and here would he often rehearse (in private) his
Masses and other sacred and secular compositions.An opportunity now arose which brought Schubert
into considerable prominence. His first Mass (in F, for
p- . 4 voices and orchestra) was to be given at the
,, Lichtenthal parish church. The perform-Mass ~ . , or
,
ance took place on Oct. 16, 1814, whenTherese Grob sang the principal soprano part, and
Mayseder acted as first violin. At its conclusion, Salieri
embraced the composer, exclaiming :
"Franz, you are
my dear pupil, and you will bring me much honour."
Ten days later, according to Ferdinand Schubert, the
Mass was repeated under circumstances which gave it an
air of being quite a family festival. Therese Grob againtook the chief part, Ferdinand played the organ, Michael
Holzer acted as Regius Chori, and Schubert himself con-
ducted;
while friends and acquaintances filled the remain-
ing parts. To crown all, the composer's father presentedhim with a new five-octave piano, which would doubtless
prove a welcome exchange for the family" Hackbrett." l
Among the numerous compositions of 1814, were
five string quartets, and many first-rate songs, such as" Gretchen am Spinnrade
"(op. 2). During December of
this year Schubert made the acquaintance of Mayrhofer,the census-official and tragic poet, the musician's senior
by full ten years." My acquaintance with Schubert
"
says Mayrhofer in his memoirs " was brought about
by a young friend giving him my poem,' Am See,' to
1 See p. 3.
14
Mayrhofer
set to music. The friend brought him to that very room
which, five years later, 1819, we were destined to share in
common. It was in a dark, gloomy street. House andfurniture were the worse for wear
;the ceiling was beginning
to bulge, the light obstructed by a huge building opposite,and part of the furniture was an old worn-out piano anda shabby bookstand such was the room. I shall never
forget it nor the hours we spent there. . . . This depthof sentiment and mutual love for poetry and music drew
our sympathies closer and closer;
I wrote verses, he saw
what I wrote, and to these joint efforts many of his
melodies owed their beginning, end, and popularity in the
world." xIt will be seen that as their friendship grew,
Mayrhofer contributed poems freely, and commonly at
Schubert's instigation. These were generally immediatelyset to music. Mayrhofer is the author of no less than 47in the printed collection ;
he also wrote two operaticlibrettos Adrast, and Die beiden Freunde v. Salamankawhich were set to music in 1815. Seven operatic pieceswere composed during that year. May brought forth Die
vierjahrige Posten (words by Korner) ;another one-act
piece, Fernando, appeared in July, which also saw the com-
pletion of Claudine von Villa Bella, a three-act opera byGoethe, which was followed by Der Spiegelritter, a three-
act piece (by Kotzebue) and Der Minnesdnger.At an early age Schubert had begun to celebrate
important occasions with specially composed music. For
example, in 1812 he had written a little piece for the
birthday (or "name-day") of his father, which fell on Sept.
27. There is also another work designed for a corre-
1 Another account states that "the whole decorations compriseda couple of books, a guitar, and the indispensable tobacco-pipes."
'5
Schubert
spending occasion in 1815. Nor did he confine himself
to the paternal name-day, for Louise Gosmar, Irene Kiese-
wetter, Vogl, and last, but not least, the Emperor Franz,were all similarly honoured at different times. A more
melancholy occasion is marked by the little octet for wind-
instruments, written on the death of his mother in 1812.
During the last days of December 1815, or at the
latest, says Spaun, in Jan. 1 8 1 6, The "Erl-king
" was
written. The story is given in full elsewhere (p. 138).
Sung on the day of its composition, either by Holzapfel,or by Randhartinger, in the Convict practice-room,it did not appear in print until 1821, when it con-
tributed powerfully to the making of Schubert's repu-
tation, especially after Vogl took it up, which was soon
after its performance. This wonderful song actually
brought in substantial receipts, 800 copies being sold in
nine months by Diabelli, who took half the profits.
Schubert was never an enthusiastic competitor for a
vacant post. Early experience may have had somethingto do with this, or it may be that he felt himself unsuited
to methodical and regular duties. He applied on a dayj- , in April 1816 for the appointment as chief
AM '
tteacher at the School of Music, Laibach, near
?P Trieste. The appointment was under Govern-
ment control, and carried with it the princely
salary of 500 Vienna florins, or ,21, a year. Schubert's
application was supported by Salieri, whose half-hearted
testimonial somewhat betrays him, and by Josef Spendou,who wrote a practical recommendation, as Head Superin-tendent of Schools. In the result, Schubert was passed over
and, on the recommendation of Safari, one Jacob Schaufl
was accepted"as the fittest person for the position."
16
Friend in Need
Schubert was now to make a valuable friend in Franz
von Schober, who had met with some of the composer's
songs as early as 1813, when on a visit to the Spauns at
Linz. Schober had entered Vienna University as a
student, and as soon as he arrived in town he sought out
Schubert, whom he discovered in his father's house, sur-
rounded with MSS. and correcting school exercises. Wehave already seen that Schubert had decided to go in for
music, to live for it, and by it. His new friend now
stepped in, and, with the consent of his own mother and
of Schubert's father, young Franz was carried off to share
his rooms in the "Landskrongasse." Here they lived
together for six months, when Schober's brother, an
Hussar officer, arrived on the scene and claimed the avail-
able room. Spaun seems then to have come to Schubert's
aid. The following entry in his diary is understood to
apply to this period :
"Schubert, at that time poor and
neglected, was for weeks and months supported by a
friend at a small tavern. This friend often shared his
room and bed with him." Bauernfeld states that about
this time Schubert gave outside lessons in music, and
that before long he gave it up altogether. The same
friend who supported Schubert at the tavern, arrangedfor him to share rooms with Mayrhofer during the years
1819-20; but, throughout the chief part of Schubert's
further career, Schober kept a room always ready for him,and when the two friends were in town, Schober's lodg-
ings sheltered them both.
An event of importance befell on June 1 6, 1 8 1 6, whenSalieri celebrated his Jubilee. The Italian musician was
a man of much influence in his day, and his fifty years,
residence in Vienna, though it had never enabled him to
B 17
Schubert
master German, had won for him the respect of a wide
circle of friends. He had come in contact with four of
the great musicians of all time. Haydn he had alwaysbeen on good terms with, towards Mozart, on the other
hand, he had been in open antagonism : while Beethoven
held him in respect, as indeed did his last pupil Franz
Schubert. Salieri was decorated with the great goldmedal and chain of honour of the civic class (Civil-
Ehrenmedaille), and after Mass, which was sung to someof his own music, an address was presented to him,followed by a series of compositions which had been
written for the occasion by former pupils. These were
given in turn, beginning with the work of the youngest,and ending with the presentation pieces of Hummel and
Moscheles, who were unable to attend. Schubert was
represented by a little cantata, to a simple libretto of his
own composition. This is referred to in the "Diary"(see p. 96). The piece comprises a chorus (" Giitigster,
Bester "),an air, and a canon for three voices, and is now
to be had in published form.
Besides the piece for Salieri's jubilee, there was a
cantata entitled Prometheus, also dated June 16,
written in honour of one Heinrich Watteroth a prominentVienna official, words by Philip Draxler designed for
two solo voices, chorus and orchestra, a work which does
not appear to have survived. The piece was given in
Watteroth's garden, where were assembled the chief
official people of the day. Its importance here, however,arises from Schubert having noted in his journal that it
was his first money transaction. The sum he received
was one hundred Vienna florins or four pounds
sterling. Schubert apparently set some store by the
18
Vogl
Prometheus music, which was repeated at Innsbruck
by Gansbacher, and at Vienna by Sonnleitner ; and other
performances were in contemplation. Another cantata
was produced in September of the same year, in honour
of Dr Josef Spendou, chief Inspector of Schools. The
piece is designed for soli, chorus and orchestra, andentitled Expressions of Gratitude on the part of the
Institute of the Widows of Teachers, at Vienna, to the
Founder and Principal of the same (Josef Spendou). It
is a realistic attempt, beginning" There lies he, stricken
down by death"
alluding to the dead father. Then the
helplessness of the children is portrayed, the mourningof the widow, and finally there is an address to their
deliverer, and a chorus of widows and orphans in
praise of the Founder. The cantata is published as op.
128, with a pianoforte arrangement by Ferdinand
Schubert.
Schubert's circle of friends was gradually widening.He had met Anselm Hiittenbrenner in 1815 at Salieri's.
His brother Josef, with whom he was afterwards intimate,
as yet he had not met. Josef Gahy was already of his
circle, though it was not until later that the pair were
closely associated. More important than any of these
in its bearing upon Schubert's career was the friendshiphe now formed with Vogl, the Court opera-singer a great
artist and possessor of a fine tenor voice of large compass.This came about through the friendly offices of Schober and
Spaun, who with some difficulty had persuaded the accom-
plished singer to visit the clever, but by no means famous,Franz Schubert. " The composer entered
"(says Spaun)
" with shuffling gait and incoherent stammering speech andreceived his visitor
"the successful artist, and polished
19
Schubert
man of the world. Vogl does not appear to have at first
felt much impressed. He had looked through the song"Augenlied," which did not strike him, then he tried
over "Ganymed"1 and " Der Schafers Klage," which
pleased him better. On leaving he tapped Franz on the
shoulder, remarking," There is some stuff in you, but you
are too little of an actor, too little of a charlatan; you
squander your fine thoughts instead of properly developingthem." This interview seems to have come back to his
memory with redoubled force and soon he began fre-
quently to visit Schubert. Then he studied and sangseveral of his songs, and before very long the two menbecame almost inseparable. Most remarkable is the
disparity in their ages. Schubert was almost thirty years
Vogl's junior ;the latter, however, outlived him by fully
twelve years. It became Schubert's habit to visit Vogl
(in the Plaukengasse) daily generally in the forenoon
when he would try over a song or set to work on the
composition of new ones. Vogl, who was a good classi-
cal scholar of fine taste and literary judgment, nowexercised considerable influence on the choice of verses
which Schubert set to music. The singer would commonlydeclaim the poem with a passionate energy which inspiredthe composer to put forth his best efforts. Vogl, on the
other hand, is said to have encouraged a somewhat
lighter class of composition than Schubert would naturally
favour, and also to have been responsible for the im-
practicable range of many of Schubert's songs, which were
directly contrived for Vogl's own abnormal voice.
Music in Vienna meant Rossini's music, during the
opera-season of 1817, when four of the successful Italian
1 He had been hard to please if the exquisite"Ganymed
"failed.
20
Rossini's Influence
composer's works were staged, and the Viennese public,with Schubert in their train, were won over to enthusiastic
admiration of the bright, fresh, though light strains
of Tancredi and L'ftaliana in Algeri. Schubert
admired the works of this brilliant writer, and Rossini's
influence passing, though it undoubtedly was is seen
in such compositions as the two overtures in the Italian
style, both of which are dated 1817. A good story is
told of the origin of these pieces. Returning from a
performance of Tancredi, there was a general chorus
of praise from Schubert's friends for Rossini's music
especially the Overtures. Schubert contested the point,
declaring it was quite easy to write pieces in the same
style, at the very shortest notice. His friends, takinghim at his word, and promising him a good glass of wine,Schubert sat down there and then and dashed off a completescore of the Overture in C a work which was followed
in November by its companion Overture. But these
were small efforts compared with the more serious labours
which Schubert had undertaken. His activity may be
measured by the fact that his finished works in 1817 at
the age of twenty exceeded 500, a figure which includes
Operas, Cantatas, Quartets, Sonatas, and five Symphonies,in addition to the large mass of songs.
Schubert, during the year, had parted company with
Salieri. The latter did not approve of Schubert's selec-
tions of poetry, especially of Goethe and Schiller.
Moreover he counselled him to adopt the "stanze
"of
the Italians. But another account of the rupture is given
by Herr Doppler, who states that Salieri cut out andcorrected all passages reminiscent of Haydn and Mozart
which he discovered in Schubert's Mass in B flat. The
21
Schubert
angry young composer came to Doppler's rooms, and fling-
ing down the MS. on the table, declared that he would have
nothing more to do with Salieri.
In the following summer, on the recommendation of
Herr Unger father of the great singer Caroline Unger-,, . Sabatier Schubert became music-teacher in
, the household of Count Johann Esterhazy.
, The change of life thus brought about was
P , both marked and beneficial, for Franz was' '
now living as one of the family in a fine
country chateau at Zelesz, Hungary, where the hours
were methodical, the duties comparatively light, andabove all, where (to quote his own expression) he waswithout anxiety of any kind. Besides the count and his
lady, there were two young daughters one of thirteen
years, the other eleven and a son of but five years old.
Presumably the three children were Schubert's pupils,
and the agreement entered into allowed him two gulden
per lesson, while his living would, of course, be free.
This was quite a novel state of things to Franz, who for
some time at least appreciated the change in his circum-
stances. On August 3, he writes to his friend Schoberto say that he is thoroughly well and happy,
" and com-
posing like a god." In the same letter he mentions his
setting of Mayrhofer's"Einsamkeit," which he believes
to be the best thing he has so far done.1 Other letters
exist, all showing that in his new position he was busyand full of compositions. Reports of his happy position
1 This is a fine long-sustained song for Tenor and Pianoforte, dated
July 1818. It is full of passionate feeling and of rare invention. The
accompaniment in places suggests the manner which Wagner after-
wards so grandly developed.
At Zelesz
drew congratulatory letters, and in one from his brother
Ignaz he is saluted in these terms :
" You lucky mortal.
What a thoroughly enviable lot is yours. You live in
a sweet golden freedom, can give full play to your musical
genius, scatter your thoughts about, just as you please;become petted, praised and idolised," etc. Such a state
of things was too good to last.
Music, apart from composition and the lessons, was
cultivated daily. The countess and her two daughterswere fairly good singers, and the count had a good bass
voice. In addition to this quartet, a regular visitor to
the house if not actually residing under the same roof,
was Baron von Schonstein, a fine amateur singer whoin later years shared with Vogl the honour of being the
best of the Schubert singers. One of Schonstein's
favourite song-cycles was the "Schone Miillerin," dedi-
cated to him five years after the time of which we are
writing.
Whether the daily round at the chateau grewmonotonous, or whether Schubert was too much attached
to the gaiety of Vienna life to settle down for any lengthof time in the country, his letters show that he becamediscontented with his lot. Our quotation is from a letter
to Schober, dated September 18, 1818: "No one here
cares for true art, unless it be now and then the countess;
so I am left alone with my beloved, and have to hide
her in my room, or my piano, or my own breast. If this
often makes me sad, on the other hand it often elevates
me all the more. Several songs have lately come into
existence, and I hope very successful ones." The
description of the members of the household is highlycharacteristic. This lover of nature this born son of
2 3
Schubert
unconventionality, actually begins his description in the
servants' hall. Nor are we to suppose that that was his
proper place. The true explanation is simply that the
humbler members of this household first awaken his
interest because they appear more natural, more humanthan the aristocratic but frigid owners of the chateau.
And so we find our sympathies for the time being entirelywith the inmates of Count Esterhazy's kitchen. Onecannot but smile on being informed by Schubert that" the cook is a merry fellow
;the lady's-maid is thirty ;
the housemaid very pretty, and often pays me a visit;
the nurse is somewhat ancient;the butler is my rival
;
the two grooms get on better with the horses than with
us. The count is a little rough; the countess proud,but not without heart; the young ladies good children.
I need not tell you, who know me so well, that with mynatural frankness I am good friends with everybody."
Another letter which Schubert wrote from Zelesz,
addressed to his brother Ferdinand, concerns itself
chiefly with personal and private affairs. Here is a
specimen which serves to show that Schubert's step-
mother had won his affection :
" Tell my mother that
my linen is well looked after, and that I am well off,
thanks to her motherly care." Franz adds that he is
looking forward to visiting Pesth, and attending a vintageat Bosezmedj. But the letter clearly indicates that the
writer wishes himself back in Vienna once more. Hereturned at the end of the year. The compositions of
this period (1818) are far from numerous. They include,
however, the Mass in C, and some fifteen songs.Schubert arriving again in his beloved Vienna, shared
rooms with his friend Mayrhofer in the Wepplingerstrasse.
Back in Town
The exuberance of youth here found an outlet in sham
fights and rough play, which, we may briefly note, was
indulged to celebrate the composer's return to his native
city. Rossini's operas still held the stage, and Schubert
finds no difficulty in recognising the Italian's many merits,
with a generosity as real as it is rare. Otello, says hein a letter to Hiittenbrenner, "is far better and morecharacteristic than Tancredi. Extraordinary genius it is
impossible to deny him. His orchestration is often most
original, and so is his melody ;and except the usual
Italian gallopades, and a few reminiscences of Tancredi,
there is nothing to object to." This compares favourablywith Beethoven's opinion, expressed about the same
period," Rossini is a good scene-painter and nothing
more." x
Mediocrity in poetry, intolerable alike to gods and men,was no less intolerable to Schubert, when appearing in
the music of the Weigls and Treitschkes, which the letter
mentioned duly castigates in a good-natured manner.
No wonder. These works were keeping Schubert's own
operettas from the stage.2
Finally he asks for a libretto.
It seems likely that Schubert continued his music-instruc-
tion to the Esterhazys after their return to town. Thereis little or nothing to guide us beyond the speculationsof his early biographers. Mayrhofer, with whom he was
living, as a Government employ^ went to his office early
each morning, and Schubert had the rooms to himself
during the poet's absence. We read that he commonly
1 See "Beethoven," by Crowest, p. 87.2
It is but just to add that, on the authority of Kreissle, very few
poor works were given at the Karnthnerthor theatre, the usual
repertoire of which was excellent.
2 5
Schubert
slept in his spectacles to be ready for morning composi-
tion, though so supremely uncomfortable a habit would
scarcely be calculated to save much time. Morning work
was without doubt Schubert's settled occupation. This,
in a great measure, helps to explain the extreme lucidity
and healthiness of his compositions true children of the
sun, every one of them. "I compose," says he,
"every
morning, and when one piece is done I begin another."
The most methodical person could wish for no more.
This morning task was continued until the time of the
mid-day meal two o'clock, as a rule, and the remainder
of the day was free for walks into the country, visits to
his friends, or, as sometimes might happen, the unusual
exercise of a sudden muse. Among his friends, Schubert
was known by the nick-name "Kanevas," owing to his
general query regarding strangers on their joining the
circle of intimates " Kann er was ?" Can he do any-
thing? or does he know anything? One glimpse of
quick work is given in the inscription on the Overture
(op. 34) for pianoforte four hands " written in JosephHiittenbrenner's room at the city hospital in the inside ofthree hours ; and dinner missed in consequence."
l Thatlittle banquet, missed by the composer, is free to all who
bring with them the taste for good things musical. Thesummer of 1819 was spent by Schubert and Vogl in a
tour in Upper Austria. Their first stop was at Steyr, a
well-situated town south of Linz. There they arrived at
the beginning of July, and being Yogi's native place, theymet with an extremely hospitable reception. The chief
citizens of the town welcomed them, and Schubert's
1Compare the incident related in
' ' Beethoven"
by Crowest,
p. 102.
26
Parody of the Erl-king
music, under such favourable conditions, met with rare
success.
The letters of this period are all in a cheerful vein.
One of July 15, 1819 addressed to his brother Ferdinand
shows that Franz was by no means insensible to
feminine charms, for we read that " In the house where
I am lodging there are eight young ladies, and nearly all
pretty. You see one has plenty to do. Vogl and I dine
every day with Herr von Koller; his daughter is un-
commonly pretty, plays capitally and sings several of mysongs." Schubert was enjoying the hospitality of DrAlbert Schellmann, father of five fair daughters. In the
same house lived the District-collector with his three
daughters. The ladies are elsewhere referred to collect-
ively as the "eight Schellmann girls." Vogl was mean-
while quartered with Herr von Roller a successful
merchant and ironmonger, whose daughter"Pepi
"could
both sing and play. Mention is made of a remarkable
performance of the "Erl-king," in which Mistress Pepi sang
the part of the terrified child, to Schubert's impersonationof the goblin himself Herr Vogl appearing in the
character of the " fond father." As an artistic joke
nothing could have been better, and the applause of "the
eight Schellmann girls"
would, we make no doubt, be
readily forthcoming. While at Steyr, Schubert renewed
acquaintance with Albert Stadler, whom he met as a pupilof the Convict. Stadler had become a Government official,
but cultivated musical composition in his spare time. It
was he who contributed the libretto for the cantata written
in honour of Vogl's birthday. Schubert briefly mentions
this work in a letter to Mayrhofer, written from Linz,
about the middle of August :
" We kept Vogl's birthday
27
Schubert
with a cantata, the words by Stadler, the music by me;
people were thoroughly pleased." This little work is for
three voices and accompaniment, and is printed as
opus 158.The most considerable townsman of Steyr was Herr
Silvester Paumgartner, "deputy factor to the head guild,"
amateur 'cellist, and a most hospitable man. It was
thanks to this estimable deputy that the melody of " Die
Forelle" was employed in the slow movement of the
quintet (pianoforte and strings, op. 114) composed bySchubert during this summer tour. Paumgartner was
rewarded with the autograph MS., which was added to
his collection. Mayrhofer's letter above-mentioned has
another passing allusion to a composition of about the
same date (August 1819)." There too I made acquaint-
ance with Spaun's mother, and Ottenwald, whose ' Cradle
Song'
I set and sang to him." The reference is to the"Wiegenlied
"(beginning
" Schlumm're sanft"
),a very
charming little song. Though it had been originally a
part of the holiday-programme to pay a visit to Salzburg,and one would have expected to find some allusion, at
least, to the birth-place of Schubert's first love Mozart
there is nothing to show that the friends proceeded further
than Linz. The date of their return journey is fixed byan entry written in Schubert's hand and contained in
Miss Kathi Stadler's album, as follows :
"September 14,
1819. Enjoy the present so wisely that the past may be
pleasant to recollect, and the future not alarming to
contemplate." An utterance as correct and sententious as
any copy-book heading. Let us hope Miss Stadler duly
profited by it.
Several noteworthy events had occurred in the course
First Song-performance
of the year. Foremost we may place the composition of
the operetta Die Zwillingsbriider (written in January),which was produced some eighteen months later. Then,on February 28th, Jaeger gave a first public performanceof a Schubert song. The concert took place at the
Romische Kaiser, Vienna, under Jail's direction. Except-
ing the performance of the Mass five years previously,this was Schubert's first appeal to the public. A short
critique appeared in the Leipziger Allgemeine Musikalische
Zeitung, as follows :
"Goethe's ' Schafers Klagelied,' set to
music by Herr Franz Schubert the touching and feeling
composition of this talented young man was sung by Herr
Jager in a similar spirit." During this year Schubert
addressed the poet Goethe, doubtless with a view to
obtaining from the great man some lines of encourage-ment. The three songs accompanying this letter which
has not yet been published were as follows :
" AnSchwager Kronos" (1816); "Ueber Thai," from Mignon(1815); and "Ganymed" (1817). Most unfortunatelythe poet does not seem to have replied to this communi-cation. It is still more remarkable that the six volumes
of Goethe's correspondence with Zelter (who outlived
Schubert by several years) contains no mention whatever
of one who more than all other composers together had
helped to confer immortality on the poems. It is worthyof remark that of the 603 published songs by Schubert,no less than 70 are settings of Goethe.
The first event of interest in the year 1820 was the
mysterious composition of an Easter cantata or oratorio.
Whether the work was completed and a portion afterwards
lost, is not now easy to decide from the printed fragment.The libretto was chosen from the works of A. H.
29
Schubert
Niemeyer, Professor of Theology at Halle, being entitled
Lazarus, or the Feast of the Resurrection. Kreissle re-
marks of this work that"the birth of this oratorio is a
mystery, and will probably remain so for ever, for not
even Schubert's most trusted friends, such, for instance,
as Franz von Schober, who, in the year 1820, was thrown
frequently into personal intimacy with the composer, can
give any explanation of the cause, or other external cir-
cumstances, under which the work in question was
written;
but it is certain that to many of Schubert's
associates the very existence of this work remained
hidden."
It almost looks as if Schubert might have won operaticfame if he had but secured reasonable libretti. Hofmannhad furnished the book for Die Zwillingsbruder, which
is singularly weak and devoid of interest. Schubert's
music, on the other hand, has much to recommend it,
being light and tuneful, and at times truly dramatic. OnJune 14 of this year the Zwillingsbruder was broughtto a hearing at the Karnthnerthor theatre, where it ran
~ .. for six nights, and was then withdrawn.
p f'
Vogl doubled the parts of the twin-brothers,
and his share of the performance was well
received. Schubert took little interest in
the production of his work, and did not even sit out the
first performance. That he was attracting the attention
of the theatre managers is shown by the rival opera-housethe theatre an-der-Wien suggesting the subject for a
new work. This was the Zauberharfe (magic harp),a melodrama, again by the unlucky Hofmann, who hadtranslated the former operatic piece. Schubert embracedthe opportunity, and, it is said, completed the music of
3
Newspaper Critique
this three-act work in two weeks. In spite of a goodOverture,
1 and among other solos a fine tenor song, andsome effective descriptive choral writing, the Zauberkarfemet with but moderate success. The piece was repeatedat intervals until the close of 1820, and then allowed to
fall into neglect.A bad book generally spells failure in operatic enter-
prise. Not content with ridiculing the libretto, the critics
of the day had the temerity to assail the music, which
Schubert himself reckoned as one of his most successful
works. Here is a patronising example, quoted from the
Allgemeine Musikalische Zeitung :
" The composer gives
glimpses here and there of talent. There is ~ 7 . /-
u i r 4. u i Glimpses ofon the whole a want of technical arrange- ^ ,
J.
u- u i u j u Talentment, which can only be gained by experi-ence
;the numbers generally speaking are too long and
wearisome;
the harmonic progressions too harsh;
the
instrumentation overladen;the choruses vapid and weak.
The most successful numbers are the introductory Adagioof the Overture, and the Romance for the tenor; the
expression in these is lovely ;the simplicity is noble and
the modulation delicate. An idyllic subject would be
admirably adapted to the composer." The notice is
curious reading to those of us who take the trouble to
examine the luxurious score which Messrs Breitkopf issue.
Certainly no page of Schubert, early or late, came forth
without "glimpses of talent." But that his harmonies
1 The Overture, a bright and rhythmical movement in C major, is
now well known as the "Overture to Rosamunde," though that workhas an Overture of its own (in D minor). Schubert made the changein 1828 when he published the so-called "Overture to Rosamunde"
(i.e. Zauberharfe) for Pianoforte Duet.
31
Schubert
were harsh, or his choruses vapid and weak, his instru-
mentation overladen, and the numbers generally too longand wearisome, no serious student present or to comeis at all likely to admit.
Schubert most probably looked upon opera as a possible
way of gaining a living. The wonderful luck of the
gifted Rossini could not but awaken hope in the heart of
our luckless but ten times more gifted Franz. Had life
lasted there can be no manner of doubt he would have
tried again and again until through sheer persistence he
attained his object. Schubert's disappointment was
Music's gain, for stage-laurels soon fade, while"absolute
"
music comprising Symphonies, Quartets, Sonatas, etc.
is very much more lasting ;and great songs, especially
settings of great poems, are as nearly immortal as any-
thing of human origin can be. However much or little
of such speculation was in Schubert's mind, the doggeddetermination to achieve was present in full force, and in
the autumn of 1820 he embarked upon a new stage-
venture. This was no less than a three-act opera to the
libretto of Sakuntala, written by P. H. Neumann.
Beyond sketching two acts of this work, the composer did
not go. The libretto was again hopelessly weak, a reason
which, coupled with the obvious lack of encouragement,
may have led to the MS. being abandoned. On December
23rd, Schubert took in hand Moses Mendelssohn's
rendering of the 23rd Psalm," Gott ist mein Hirt" 1
setting it for two Sopranos, and two Altos, with pianoforte
accompaniment. The piece was written for four youngladies named Frohlich (Nanette, Barbara, Josefine and
1 Introduced to English audiences by Leslie's Choir and the
Crystal Palace Saturday Concerts.
32
Testimonials
Katharina), sisters, who excelled in singing, and with
whom the great Austrian poet, Grillparzer, lodged the
greater part of his life. The eldest sister, Nanette, was a
teacher of singing at the Vienna Conservatoire for noless than thirty-five years (1819-1854), and she it was
who induced Schubert to compose music for the psalm.Another work of interest which the year 1820 had seen
the birth of, was the set of Variations on a French air
(op. 10) for pianoforte-duet, which, it will afterwards be
seen, served to introduce Schubert to Beethoven. Mentionmust also be made of the Fantasie in C major (op. 15)for pianoforte-solo, which is attributed to this year.
The work (which introduces " The Wanderer "song) is
now happily well-known, owing to the efforts of Franz
Liszt, who played it with remarkable effect, and whose
arrangements for piano and orchestra, and for two pianos,have helped to popularise this fine composition. It is
said that Schubert himself never mastered its difficulties,
the final movement being a certain stumbling-block.1
Soon after Schubert's birthday (January 31, 1821),three testimonials reached the composer, who may there-
fore have been seeking some position which such distin-
guished witness would help him to secure. Vogl delivered
the first of these missives, which came from no less a
personage than Count von Dietrichstein, the chief con-
troller of Court-music named of Beethoven Hofmusik-
graf. This was couched in flattering terms, and speaksof Franz's "native genius ... his earnest study . . .
his constant labour . . . and the eloquent proofs of his
deep knowledge." A second and more formal certificate
1 It is perhaps fortunate that he never saw Liszt's version with its
added difficulties of this same movement.
C 33
Schubert
was forwarded by Acting-Court Secretary von Mosel.
On the third of these precious documents appeared the
signatures of Weigl, director of the opera ; Salieri, the old
teacher;and one Von Eichthal. It set forth that
"WE, the undersigned, testify that Herr Franz
Schubert, on account of his famous and most
promising musical talent, proved chiefly in the
art of composition, has been employed by the
Committee of Management of the Court Theatre,and served with great distinction to the satisfac-
tion of everyone."
Yet, as they all led to nothing, posterity will be prone to
judge that these courtiers and artists found it easier to
praise than to benefit the young composer with a postor a pension, which would at least have enabled him to
live in modest security, free of that anxiety which was
his close companion through life, dogging his steps to the
last.
True friends of Schubert were the Sonnleithners, both
father and son. The latter (Leopold), Schubert had met
long ago as a scholar of the Convict school. Ignaz, the
father, had maintained regular musical gatherings at his
house since 1815, and Schubert's songs had been freely
performed, before large audiences of friends and music-
lovers. A good tenor singer and an influential Imperialofficial named August von Gymnich, had sung the"Erl-king
" with great success at the Sonnleithners'
private music-gathering on December i, 1820, and, as
a result, Leopold Sonnleithner and Gymnich agreed to-
gether to secure a publisher for the song. With this aim,
34
Publication of Erl-king
Diabelli and Haslinger, the two leading Vienna music-
printers of that time, were duly and vainly consulted.
The publishing eye, so quick to detect technical difficulties,
was closed to the supreme merits of this work, though to
have been its original publisher would have secured
lasting memory of a creditable kind.1
The two amateurs thereupon undertook the risk them-selves and admitted a few friends to the same privilege. Anappeal was made at the Sonnleithners' next ~7 ^ ,
, . , . , , . , The Erl-concert, and all risk vanished into thin air
;, .
one hundred copies were subscribed for, there
and then, a result which not only placed the transaction
on a commercial footing, but eventually led to Schubert's
receiving a substantial sum. Had his friends perceivedthat the copyright of such work would become of ever-
increasing value, and influenced the composer to retain as
his own property the rights connected with its publication,Schubert would, ere long, have found himself beyond the
clutches of want. As it was, as soon as the publishersdiscovered that there was a sale for Schubert's songs, theysecured the copyright themselves, in the ordinary course
of business. Before this came about, the private issue of
Schubert's songs had grown to twenty numbers, the list of
which is as follows :
Op. i. (issued April i, 1821) The Erl-king.
Op. 2. April 30, Gretchen am Spinnrade.
Op. 3. May 29, Schafers Klagelied.Meeresstille.
Heidenroslein.
Jagers Abendlied.
1
Haslinger was content to obtain this another way. See p. 149.
35
Schubert
Op. 4. May 29, Der Wanderer.
Morgenlied.Wanderers Nachtlied.
Op. 5. July 9, Rastlose Liebe.
Nahe des Geliebten.
Der Fischer.
Erste Verlust.
Der Konig in Thule.
Op. 6. Aug. 23, Memnon.
Antigone und Oedip.Am Grabe Anselmos.
Op. 7. Nov. 27, Die abgebliihte Linde.
Der Flug der Zeit.
Der Tod und das Madchen.
It is a truly remarkable list of first publications, and
especially noteworthy on account of the surviving popularityof the majority of the songs to this day. With the issue of
opus 7, these private publications ceased, and Diabelli com-menced operations on his own account, as is seen from
opus 8, which appeared on May 9, 1822, printed as "the
property of the publishers." There are indications that
had Schubert at this period cultivated those in Vienna
society who were disposed to be friendly with him, he
might have taken a place in their circle, to which his
talents entitled him, and to which he would have beenwelcome. Kreissle remarks on this :
" He himself never
expressed a wish to mix in society, where he was forced
to get rid of his innate shyness, reticence and a good-natured nonchalant manner, but could not escape yielding
occasionally to friendly pressure put upon him." It is
surmised with some show of reason that the dedication of
36
Dedications
Schubert's earliest compositions would indicate his moreinfluential friends of this date. If this be so, the followinglist which shows in their order the seven dedications
deserves attention : Graf von Dietrichstein, ReichsgrafMoritz von Fries, Ignaz von Mosel, Johann Ladislaus
Pyrker (Patriarch of Venice), Salieri, Vogl, and Graf LudwigSzechenyi. With the goodwill of such influential friends
Schubert seems to have remained quite content, preferring
his own retirement and the company of the poets, paintersand philosophers, whose simple Bohemian habits suited his
taste better than the luxurious surroundings of the rich.
To some extent Beethoven was of the same mind, while
the life of the poet Goethe offers a contemporaneousinstance in marked contrast.
In July 1821, Schubert visited Atzenbruck (near
Abstetten, between Vienna and St Polten), where the uncle
of his friend Schober had a country seat. During the
following month (August) Schubert sketched, but never
completed, a Symphony in E, the autograph score of
which passed successively through the hands of Ferdinand
Schubert, Mendelssohn, Mendelssohn's brother (Paul),and thence to the keeping of the late Sir George Grove.
(See p. 204.)Whether the visit of July to Atzenbruck was extended
for some weeks, or whether Schubert returned to Vienna,is not clear. In September, Schober and he are found
staying at Ochsenburgh, where they enjoyed a complete
change of society, and mixed with the country aristocracy,
which, according to Schober, included "a princess, two
countesses, and three baronesses." They were back in
Vienna at the end of October, and a letter jointly com-
posed by the friends gives a glimpse of their doings while
37
Schubert
holiday-making. Schober begins," Schubert and I have
returned from our visit, and look back with delight upona happy month spent partly in the town, partly in the
country. At Ochsenburgh we had plenty to do in visiting
the beautiful country in the neighbourhood, and in St
Polten books and concerts absorbed our attention;in spite
of all this we both worked hard, Schubert especiallyhe has done nearly two acts, I am upon the last, I onlywished you had been with us and witnessed the birth of
those lovely melodies;the wealth and vigorous outpour
of Schubert's fancy is really extraordinary. Our room at
St Polten was exceedingly nice two big beds, a sofa, anda good fireplace, not to mention a grand piano, gave it a
very snug home appearance. Of an evening we always
compared notes of what had passed during the day ;we
sent for beer, smoked our pipes, and read aloud. PerhapsSofie or Netta would join us, then we had singing. TwoSchubertiaden were held at the Bishop's house, and one at
Baron Mink's, a favourite of mine, and a princess, two
countesses, and three baronesses were present, all of whomwere delighted in the most approved aristocratic fashion.
. . . (The postscript is Schubert's.) ..." I must inform
you that my dedications have done their duty, for the
Patriarch, at the instance of Vogl, has expended twelve
ducats, and Friess twenty, a fact which suits me extremelywell. . . . Schober's opera has already got to the third
act, and I should much like you to have been present whilst
the opera was in its earliest stage of formation. We count
a great deal on the work in question." The work in
question was the three-act opera Alfonso und Estrella,
the first act of which was finished on Sept. 20, 1821, andthe last on Feb. 27, 1822. Though the author and com-
38
Visit to Beethoven
poser (Schober and Schubert) counted a great deal uponthe production of the piece, it was destined not to take
place during Schubert's life-time, nor indeed till longafter. Domenico Barbaja had been appointed (in 1821)as manager to both the Vienna opera-houses (the an-der-
Wien and the Karnthnerthor), and, as a supporter of
the Rossini school, viewed Schubert's work with distrust.
So nothing was done. Hiittenbrenner, however, had the
work put in rehearsal at Gratz, where, unfortunately, it was
discovered that the band was unable to play the accom-
paniments, which it may well be believed were of an
advanced type considering the time. Again it was
dropped. The score came under Weber's eye at another
period, as will be seen in its place. It was reserved for
Liszt the strong man the nineteenth-century giant
among musicians to produce this opera,1upon which poor
Schubert had counted so much;but alas, when it came to
be heard, the composer had long since gone to his grave.Two important meetings took place during 1822, for
it was in this year that Schubert first came in touch with
Beethoven and Weber. There is no record , 7
c ., ~ . ,. , ... , , Beethovenof the first occasion upon which Weber and , Tr^ ,
o u u t u j and WeberSchubert came into personal contact, beyondthe barest mention by Weber's son. It is also knownthat Weber was in Vienna, preparing for the productionof his opera Euryanthe in February and March. State-
ments are conflicting with regard to Schubert's first visit to
Beethoven. Schindler a good friend of both men and
1 Liszt produced Alfonso und Estrella at Weimar, June 24, 1854,
with many"
cuts."
After revising and re-writing the book, Capell-
meister Johann Fuchs gave a successful revival of the work in March1 88 1, at Carlsruhe. Schlesinger published it the following year.
39
Schubert
devoted to Schubert gives a circumstantial account
which we reproduce :
"In the year 1822, Franz Schubert set out to presentin person the master he honoured so highly with his
variations on a French song (op. 10). These variations
he had previously dedicated to Beethoven. In spite of
Diabelli accompanying him, and acting as spokesmanand interpreter of Schubert's feelings, Schubert played a
part in the interview which was anything but pleasant to
him. His courage, which he managed to retain up to
the very threshold of the house, forsook him entirely at
the first glimpse he caught of the majestic artist, andwhen Beethoven expressed a wish that Schubert should
write the answers to his questions,1 he felt as if his hands
were tied and fettered. Beethoven ran through the
presentation copy, and stumbled upon some inaccuracyof harmony. He then, in the kindest manner, drew the
young man's attention to the fault, adding that the fault
was no deadly sin. Meantime the result of this remark,intended to be kind, was utterly to disconcert the nervous
visitor. It was not until he got outside the house that
Schubert recovered his equanimity and rebuked himself
unsparingly. This was his first and last meeting with
Beethoven, for he never again had the courage to face
him."
Kreissle doubts this story and what he terms its
" rather improbable details, so humiliating to Schubert."
He adds that Josef Hiittenbrenner heard from Schubert's
own mouth that when he called on Beethoven, the latter
was not at home, and that the variations were left with
the servant. Hiittenbrenner gives one interesting detail,
1 Beethoven was then quite deaf,
40
Men Apart
that" Schubert subsequently heard with great pleasure
of Beethoven's enjoying these variations, and playingthem frequently and gladly with his nephew Carl."
No doubt the reasons which prevented these two remark-
able men meeting one another earlier are easily discovered.
Though both lived in Vienna, their walks in life were
widely apart : Beethoven, the eminent artist, everywhereknown as a great man Schubert, known only to few, andotherwise somewhat obscure. Then Beethoven's deaf-
ness, becoming daily more pronounced, left him solitary,
courting solitude and privacy, with no wish to make newfriends
;while Schubert's retiring habits, coupled with a
shyness which is scarcely paralleled among the char-
acteristics of great men, would further tend to lead the
two composers as much apart as could any possible com-
bination of circumstances. Hiittenbrenner may have
been led astray by Schubert himself, who would be un-
likely to give an account of the meeting with Beethovenif it occurred as described by Schindler, and without
actually misleading him the very lack of information
might lead to Hiittenbrenner's supplementing it from
speculation or from later gossip. At any rate, Sir GeorgeGrove accepts Schindler's account, and it ill becomes us
to doubt it. A remark of Schubert to Rochlitz the
founder of the famous Allgemeine musikalische Zeitungshows that at this time Schubert and Beethoven had met.
It is thus given by Rochlitz himself, who was writingfrom Vienna, in the summer of 1822, whither he had
gone in order to make the acquaintance of Beethoven :
"I was just going to dinner, when a young composer,
Franz Schubert, an enthusiastic worshipper of Beethoven's,met me. Beethoven had spoken to him about me. [The
Schubert
italics are ours.]'If you want to see him cheerful and
unrestrained,' said Schubert, 'you ought to dine in
the same room with him at the Gasthaus wherehe always goes to dine.' He brought me to the house.
The places were mostly taken;Beethoven sat surrounded
by several of his friends, who were perfect strangers to
me."
The remaining events of the year 1822 are soon told.
Josef Huttenbrenner did his best to bring out Der
Teufels Lustschloss (a composition of 1814), not onlyat the Josefstadt and Court Theatre of Vienna, but also
at Munich and Prague. At the last-named place Holbeinthe manager was interested enough to send for the score
and parts, and further to regret that Schubert had not
looked him up during a recent visit to Vienna, but there
the matter ended. Of the four enterprises nothing re-
sulted. The same indomitable friend (Huttenbrenner)tried to prevail upon Peters the Leipsic publisher to
take up Schubert's MSS., but for the time being he was
unsuccessful. Peters' letter written in reply is a modelin its kind, and might usefully be printed and presentedto all young and untried composers as an earnest of
what will come. 1 Kreissle relates that about this periodSchubert applied to be admitted to the membership of
the Vienna Gesellschaft der Musikfreunde as a viola-
player, and the Society's refusal in consequence of Franz
being a professional. At Linz and Gratz, on the other
hand, Schubert was elected an honorary member, and it
is due to Gratz that the "Unfinished" Symphony (in
1 Here is one pregnant sentence : "I only want works by masters
already recognised by the public." This precious document occupiesseven pages of (the English) Kreissle.
42
Declines a Post
B minor) came into existence. Intended as a recognitionof kindnesses coming from Gratz, the place of its destina-
tion nearly proved its ruin. Schubert never ,.,.,. . , ,
heard it played, and those marvellous effects, c^
.
4 , symphonyas new now as in the Gratz days, lay
silent and untried until Herbeck obtained the score
(which had like to have been lost) from Anselm Hiitten-
brenner, and brought it to a hearing at the Vienna
Gesellschaft in 1865. Spina printed it in 1867, andin the same year our own Manns the father of Schubert's
English reputation performed it at the Crystal Palace.
Apart from the pieces previously mentioned, it may be
observed that in the autumn Schubert finished the Massin A flat, the early portions of which had been begun in
1819. Not only did he finish it, but he took painsto revise certain portions, as has been pointed out byBrahms, who possessed an early copy of the original
score.
Neither the date nor any precise particulars are pre-
served, but an appointment as organist of the Court
Chapel, offered through his friend Count Dietrichstein,
was declined by Schubert about this period. Since the
three full years at his father's school, ending 1817, andthe teaching of the following year at Count Esterhazy's
country house, Schubert had done little regular work
apart from his labours in composition, and no one will
now be likely to blame him for a resolution which maywell have meant private loss, in view of the public gainwhich certainly resulted.
The theatre was still a powerful attraction to Schubert,and the year 1823 saw no fewer than three of his
dramatic pieces launched into the world. These were
43
Schubert
produced with extreme rapidity, yet the music is fully
matured. Die Verschworenen (or Der hausliche Krieg),the autograph of which is now in the British Museum, was
completed in April 1823. The libretto had but just
appeared in the Dramatic Garland, and was founded on
a translation from the French, by Castelli. This one-act
operetta, or Singspiel, remained unperformed until 1861,when it was produced at Vienna by Herbeck. A first
English hearing was accorded the piece in 1872, at the
Crystal Palace, under the title of The Conspirators.
Returning to the year 1823, a more important work soon
attracted Schubert's attention. This was the libretto of
Fierrabras a three-act opera-book by Josef Kupelwieser,brother to the painter, Schubert's intimate friend. Thedates of the MS. illustrate that remarkable rapidity re-
ferred to above. Thus Act i., containing over 300 pagesof oblong music-score, occupied no more than seven days
May 25-31. The MS. of the second act took just five
days June 1-5 ;and the whole work with its 1000 pages
(or 537 printed pages in Breitkopf & Haertel's score),
comprising an overture and twenty-three musical numbers,was completed on October 2. Although the work had
been commissioned by Barbaja it was never put on the
boards;the overture is, however, well known, and the full
score of the opera (as mentioned above) is now available.
Schubert's disappointment was as yet unknown, for it
was not until early in 1824 that the MS. of Fierrabras
returned to him. Part of the year would now be spenton the composition of the cycle of songs Die schone
Mullerin, which may be ascribed to the period Mayto October. During the last-named month Schubert
came into contact with Weber, and by his imperturbable
44
Amantium Irae
good humour avoided what might have proved a serious
quarrel. Weber had been in Vienna since September,and on October 3 began the rehearsals of his -^ ,
Euryanthe, which was to be produced for
the first time at the Karnthnerthor theatre on the 25thof that month. Musical Vienna was stirred to its depthswith excitement, and Weber, by no means the most
phlegmatic mortal, was naturally anxious and worried.
The composition of the Overture to Euryanthe was
put off until the last few days. No wonder then that he
was in a sensitive mood. Schubert had criticised
Euryanthe somewhat freely; its merit, said he, layin its harmonics. He was also prepared to prove, even
to Weber himself, that whereas Der Freischiitz was
genial and full of heart and of bewitching loveliness, the
score of Euryanthe did not contain one single original
melody. These severe strictures gossips duly carried to
Weber, who angrily retorted," Let the fool learn some-
thing himself before he ventures to criticise me." Onreceiving this challenge to combat, Schubert quietly
placed the score of Alfonso und Estrella under his
arm, and marched to the attack by boldly visiting Weberwhom he had met before at his Vienna lodging.
Schubert's score being duly examined, Weber asks for
an explanation of his remarks on Euryanthe, which to
his equal astonishment and annoyance Schubert stoutlymaintains. Carl Maria then loses his temper, and shouts,"
I tell you that first puppies and first operas are alwaysdrowned." 1
1Alfonso und Estrella, written in 1821, was Schubert's twelfth
dramatic attempt ; but it was the first completed three-act opera of its
composer.
45
Schubert
Franz remained unmoved. To the credit of both menthe encounter was allowed to pass without further
mischief. Schubert bore Weber no malice, and on his
side Weber did his best to produce Alfonso at
Dresden. Musicians' quarrels have not always ended so
happily !
A third dramatic work of the year 1823 was completed, in December. If we are to believe Wilhelm
Rosamunde ^, / c ., .., .. c D , xvon Chezy (son of the librettist of Rosamunde}
the task took but five days. After two performances, the
first of which took place at the theatre an-der-Wien,December 20, the score and parts were tied up andhidden away in a dusty cupboard, there to await their
deliverance at the hands of two devoted English
travellers, who unearthed the treasure with all the trans-
sports of men who wrest diamonds or gold from the
hidden recesses of earth only with infinitely purer joy.
The story appears in its place.
There are plain signs that Schubert's health had been
TII i ur. feeble during the past year, for in FebruaryIll-health J? , ,
v,. J
, .. }
he was confined to his house when writingto Herr von Mosel (February 28, 1823), and for a time
during the hot months of the year he was placed in a
hospital.
1824 brought misfortune in its train, for Fierrabras was
rejected by Barbaja, owing, it is understood, to the bad-
ness of its libretto. In a letter addressed to his friend
Kupelwieser, the painter, Schubert pours forth his
distress in unmistakable terms. The artist's brother had
written the opera-book for Fierrabras, and Schubert
writes thus in the letter referred to :
" Picture to yourself a man whose health can never be
46
Salvum atque Validum
re-established, who from sheer despair makes matters
worse instead of better ; picture to yourself, I say, a manwhose most brilliant hopes have come to nothing, to
whom the happiness of proffered love and friendship is
but anguish, whose enthusiasm for the beautiful an
inspired feeling at least threatens to vanish altogether,and then ask yourself if such a condition does not
represent a miserable and unhappy man.{ Meine Ruh' ist bin, mein Herz ist schwer,
Ich finde sie nimmer und nimmer mehr.' 1
"I can repeat these lines now every day, for each night
when I go to sleep, I hope never again to wake, and every
morning renews afresh the wounds of yesterday. Thus
joylessly and friendlessly would pass my days if Schwindtdid not often look in and give me a glimpse of the old
happy times. . . . Your brother's opera turns out to be
impracticable, and my music is therefore wasted. . . .
Thus I have composed two operas for nothing."It was grief of no ordinary kind that brought Schubert
to this pass. His natural buoyancy had quite forsaken
him for the time being, and nothing now but change of
scene and society would be likely to benefit him.
Fortunately it befell that in May, Count Esterhazysummoned the desponding musician to accompany the
family on a visit to their Hungarian home. Six monthswere spent at Zelesz. The peacefulness of a country life in
a fine bracing mountain air, no less than the regularity of a
well-ordered household, helped to restore Schubert to his
normal health full of sweet dreams and quiet breathing.1 " My rest is gone, my heart is sore,
Never alas shall I find it more."
GOETHE'S Faust.
47
Schubert
Caroline Esterhazy was now seventeen, and Franz,attracted by her beauty, and aided by the opportunities,- ,- which life in a secluded spot brings to the
members of a small family party, quite naturallyfell in love with her. The social gulf fixed between a
young and beautiful lady of birth and position and a
poor musician of little or no prospects, endowed thoughhe was with some of Heaven's rarest gifts, was not to be
bridged over by a modest and retiring man of Schubert's
disposition. A Beethoven might have overcome all
obstacles, but Franz's was the nature to submit to the
inevitable. For such a man one way only was open, andthat was to conceal his affection. Any declaration of
love could but distress the gentle-hearted girl to whom he
was devoted. That she knew the state of his affections
no woman at least will doubt, but history gives no clue.
Kreissle relates that Caroline one day inquired half-
reproachfully why Franz had dedicated none of his music
to her."Why should I," said he,
" when everything I ever
did is dedicated to you ?" This is not the language of
compliment, and doubtless Bauernfeld was right in repre-
senting the love which possessed Schubert as an ideal
one that lasted to the end not embittered or disfigured
by the pettiness of jealousy or selfishness, but a pure
bright flame which illuminated his compositions with the
tenderness and beauty of human feeling. The only work
actually dedicated to Caroline Esterhazyl
is the Fantasia
in F minor, op. 103, for pianoforte-duet, and this appearedafter Schubert's death, being published in March 1829.
1 Sixteen years after Schubert's death (namely on May 8, 1844)
the Countess Caroline was married to Count Folliot von Crenneville,
major in the army, and Chamberlain.
48
A Day's Work
Franz, while away, was not forgotten. An affectionate
letter, dated July 3, 1824, from Ferdinand in Vienna,mentions having sent his brother Franz a new opera-book Der kurze Mantel and Bach's Fugues. Ferdinand
also has the following curious reference to the clock
a musical curiosity at the Ungarische Krone, Vienna
"This clock delighted me not a little, when one
day at dinner for the first time I heard it play some of
your waltzes. I felt so strange at the moment that
I really did not know where I was;
it was not only that it
pleased me, it went regularly through my heart and soul
with a fearful pang and longing, which at last turned into
settled melancholy." Franz replied from Zelesz in no
less affectionate terms. Baron Schonstein affords us a
glimpse of the domestic influence in the Hungarian home
bearing good fruit. He relates that at breakfast one
morning in September 1824, Countess Esterhazy pro-
duced a copy of De la Motte Foque's prayer (Gebet)" Du
Urquell" and suggested to Schubert that he should set
it to music which could be performed by the assembled
family. Franz agreed, and retiring to his room, producedin the course of the day or in less than ten hours a
completed version of the poem. In the evening, with the
family gathered about the pianoforte, the new piece was
tried through from the MS. Next day the composer
copied out the parts, and the piece was duly performed.There were solos for the Countess and Marie Esterhazy,
as well as for Baron Schonstein and the Count ;Schubert
played the piano part, and perhaps we may assume that
the leaves of his MS. were turned by the fair Caroline.
Another work which is owing to these Zelesz days is the
"Divertissement a la Hongroise," op. 54, formed upon
D 49
Schubert
Hungarian airs, one of which, according to Kreissle, was
obtained in the following interesting manner :
" Schubert
got the subject from the kitchen-maid in the Esterhazy
family, who was humming it as she stood by the fireplace,
and Schubert, coming home from a walk with Schonstein,heard it as he passed. He kept on humming the tune
during the rest of the walk, and next winter it appearedas a subject in the '
Divertissement.'"
Life in the country, however healthy, is apt to becomewearisome ; and, to so thorough a citizen as Schubert,rustication for half a year only made him turn the
more eagerly towards Vienna. Now appears to have
been the very crisis of his life. His operas had been
rejected, his health had been assailed, and his heart had
ventured a hopeless quest." Grief sharpens the under-
standing and strengthens the soul," writes he in his
diary. The letters of the period point to the same thing.
One to his brother Ferdinand seems especially significant
and has the following utterances :
" In order that these
lines may not perchance mislead you to a belief that I
am unwell or out of spirits, I hasten to assure you of the
contrary. Certainly that happy joyous time is gone when
every object seemed encircled with a halo of youthful glory,
and that which has followed is the experience of a miser-
able reality, which I endeavour as far as possible to improve
by the gifts of my imagination (for which I thank God).
People are wont to think that happiness depends uponthe place which witnessed our former joys, whilst in reality
it only depends on ourselves, and thus I learned a sad de-
lusion and saw a renewal of those of my experiences which
I had already made at Steyr, and yet I am now much morein the way of finding peace and happiness in myself."
Happiness
The compositions of 1824 are far from numerous;they include, however, the famous Octet, for two violins,
viola, 'cello, double-bass, clarinet, horn, and bassoon, a
work which was composed during February, for CountFerdinand Troyer,
1 chief of the Archduke Rudolph's house-
hold. Count Troyer was an excellent clarinet-player andassisted with his instrument in the first performance of
the Octet in association with Schuppanzigh, Weiss andLinke three of the original Rasoumowsky quartet.This Octet and the String-quartet in A minor (op. 29)were regarded by Schubert as studies for the Grand
Symphony, the fulfilment of which may be seen in the
C-major Symphony of 1828.
Vienna was once again the scene of Schubert's labours.
Surrounded by his nearest friends, Schubert seems to
have been unusually happy. Schober and Kupelwieserwere both abroad, but several of the old congenialcomrades were at hand. Schubert, with Jenger and
Vogl, became a regular visitor at Madame Sofie Miiller's.
The famous actress spent the months of February andMarch in Vienna, and attracted to her house many of the
principal artists and musicians of the town. At her
gathering of March 3, 1825, she actually sang (at sight,
it is said) that marvellous song" Die junge Nonne."
Vogl also took part in these delightful performances, andsome of the settings of Scott's poems were given for the
first time. Schubert was now in his element and
1 There exists a sonata published by Haslinger for clarinet
and piano, composed for Count Troyer by the Archduke RudolphBeethoven's staunch patron. It was the same exalted person-
age who dedicated to Beethoven his"Forty Variations by his
pupil"
51
Schubert
supremely happy. Reviewing his past misfortunes, he
might have exclaimed with Goethe :
" Does Fortune try thee ? She had cause to do't ;
She wish'd thee abstinent ; obey, be mute."
Abstinent he certainly was in a proper sense of the
word. If proof were needed apart from the tradition
available, it is conclusively set forth in his works. Nodissipated man ever had either the endurance or the
shining purity of emotion which all Schubert's creations
possess. We have only to turn to the list of his works
(" Appendix D ") to perceive that he was one of the
most industrious men who ever lived. Mute, or at
least reticent, was he also in regard to much of his ex-
perience in life; yet he was gloriously eloquent where
music was concerned. Kreissle writes that " whensummer began, the two artists
"(Schubert and Vogl),
"like
wandering minstrels, started forth on their beautiful
.,. . country expedition, bent on making at onetime a stately convent, at another a city or
town, ring with their already famous lays. They madeconsiderable halts at Linz and Gmunden, and again at
the proper starting-point of their wanderings, Yogi's
birthplace. Everywhere they fell in with friends and
acquaintances, who received them with open arms. Thestill living witnesses of these days of Schubert's wanderingstalk with delight of the happy hours they passed in the
society of the unassuming, and, at that time, happy and cheer-
ful Schubert." The holiday was of five months' duration,
and the travellers got as far as Salzburg and Gastein.
Writing to his parents from Gmunden about this time,
Franz says: "I have found my compositions all about
52
Descriptive Letter
Upper Austria, particularly in the monasteries of Florian
and Kremsmiinster, where I produced my Variations and
Marches for four hands, with much success, by the helpof a good pianist. I had especial luck with the variations
from my new sonata, which I played alone, and which
pleased very greatly." Vogl and Schubert were every-
where received with enthusiasm, and at Gastein, in
the mountainous district of the Eastern Tyrol, they
joined their old friend and ally Ladislaus Pyrker, Pat-
riarch of Venice two of whose songs Schubert set to
music. 1
Now it was that, according to Sir George Grove (follow-
ing Bauernfeld), a symphony was in active construction, if
not completed. This work he christened the " Gastein"
Symphony, and counted as No. 9. Unfortunately notraces of the work can be discovered, and Bauernfeld's
statement that it was an especial favourite of its author
may perhaps refer to one of the symphonies which are pre-
served to us; in any case speculation on such a subject is nowuseless.
2 Whether Schubert was busy with a symphony or
not, we find him thoroughly enjoying his holiday. In a long
descriptive letter (of September 20-1,1825) addressed to his
brother Ferdinand, Schubert gives a glowing account of
his travels." About a league from Neumarkt, the country
begins to look beautiful. The Wallersee, which spreadsits clear, blue-green waters on the right of the road,
animates this charming scene most exquisitely. The
country lies very high, and from hence you descend all
the way to Salzburg. The mountains grow higher and
higher, the fabulous Untersberg especially rises like magic1 " Heimweh " and " Allmacht" (op. 79).2 Kreissle admits that there is much confusion on this subject.
S3
Schubert
from among the rest. The villages show traces of former
wealth. The commonest peasants' houses have marble
window-ledges and door-sills, often even staircases of red
marble. . . . Towers and palaces appear by degrees ;
we drive at last by the Capuzinerberg, whose enormous
wall of rock towers aloft perpendicularly close to the road,
and looks terribly down on the wanderer. The Unters-
berg, with its satellites, is gigantic ;its grandeur almost
crushes us. And now through splendid alleys we drive
into the town." It later appears that Schubert visited the
monastery of St Peter, and saw the monument to Michael
Haydn set in " an out-of-the-way corner." ThoughSchubert goes into much detail concerning the "
heavenly
valley"
of Salzburg, and notes " the strangely bedecked
house of Theophrastus Paracelsus," there is no word of
Mozart, which is more than passing strange. Perhaps in
a lost letter he had exhausted the subject. Mozart was
his earliest love, and it is nearly impossible that the birth-
place of such a man would pass without reference. But
we must content ourselves with the few lines quoted from
this excellent letter, the length of which surprised the
writer himself, for he exclaims, "Heavens, this is something
appalling, a book of travels I can write no more. As I
shall be in Vienna the first day of October, I will give youthis scribble in person, and tell you the rest by word of
mouth." Vogl left for Italy, in order to obtain treatment
for gout, and Schubert returned to Vienna, doing the
journey thither from Linz in an Einspanner^ in companywith his friend Gahy. Outstanding expenses were then
covered including the rent of his Vienna lodging, and
the repayment of a loan from his father by the sale of
his seven songs from Scott's"Lady of the Lake "
(see
54
Occasions manquees
p. 141). One little appointment fell to his lot this year,
namely that Q{Ersatzmann or substitute to the Gesellschaft
der Musikfreunde, though whether it carried remuneration
or not we are not informed. Among the chief composi-tions of the past year (1825) had been the well-known
Piano Sonatas in A minor (op. 42) and in D (op. 53), andthe Trauer Marsch for the Emperor Alexander of Russia
Piano Duet, op. 55. Reissmann prints a curious little
pianoforte piece in F, intended to accompany a recitation
of a poem by Pratobevera, which was a composition of
this period.l Publication was now going forward with
some regularity, and the same year witnessed the appear-ance in print of the string quartet in A minor (op. 29), an
Overture (op. 34) and Sonata (op. 30) for piano-duet, andsome notable songs including the splendid setting of
Craigher's" Die junge Nonne." We may pass rapidly
over the year 1826, which is unimportant as regards
incident, though it saw the birth of the Shakespeare songsand the Piano Sonata in G (op. 78), so highly praised of
Schumann. Schubert made a fruitless attempt to obtain
the Vice-capellmeistership of the Imperial Court, vacated
by Eybler, who had been promoted to the full mastership,rendered vacant by the death of Salieri in 1825. CountHarrach had the duty of making the appointment, and he
had to choose from eight candidates. 2
The report of Count Harrach stated that" Schubert
bases his claim on his services as court singer, confirmed
by a certificate from Salieri, who taught him composition ;
1 It is the last composition in Vol. x. of B. & H.'s edition of the"Lieder," and entitled " Der Falke."2 The eight candidates were Schubert, Seyfried. Gyrowetz, Kreutzer,
Hoffmann, Htittenbrenner, Wiirfel and Glazer.
55
Schubert
and declares that he has already composed five Masseswhich have been produced in various churches." Noneof Schubert's Masses had found their way to the Court
chapel, though we have his own word for it that he placedthe score of one before Eybler the Capellmeister. All
the eight candidates were passed over, though they hadbeen recommended as men of merit and consideration,and Josef Weigl, of the Court Theatre, was duly installed
by imperial edict. No better proof of Schubert's wonder-
ful modesty and total lack of jealousy can be given than
that furnished by his comment when he found himself
passed by. The salary was fixed at 1200 florins (^120),which would have ensured comparative independence,and yet he simply remarks :
"I should have been very
glad of this appointment, but as it has fallen to one so
worthy of it as Weigl, I must be well contented." It
has been customary to regard Schindler's statements re-
garding Schubert with some suspicion, but since the issue
of Thayer's"Beethoven," there is no longer just cause for
so doing. His is the authority for the scene which follows.
Herr Krebs had resigned the post of conductor at the
Karnthnerthor theatre which, at the suggestion of Vogl,was open to Schubert's acceptance subject to his capacity
being proved at a public trial. The candidate was to set
some operatic scenes, for which the words were pro-vided by Duport the manager. This was of course
quickly accomplished and placed in rehearsal. Then
<,the hitch occurred. Mdlle. Schechner, the
, , great prima donna, called upon Schubert to
alter the principal air, by shortening it
and simplifying the accompaniment. Schubert refused,
and at the first rehearsal Mdlle. Schechner broke down.
56
A Gift
She sank exhausted, it is said, on a chair by the side of
the proscenium. Schindler continues as follows :
" There
was a dead silence throughout the house, and consterna-
tion in every face. Then Duport was seen going from
one to another of the principals and discussing matters
with the singer and the chief musicians present. Schubert
sat through this painful scene like a marble figure, with
his eyes fixed on the score before him. Then after a longinterval Duport advanced to the orchestra and politely
addressed the composer in these words: 'Herr Schubert,we will postpone the performance for a few days, and I must
beg of you to make the necessary changes in the aria at least,
in order to make it easier for Mdlle. Schechner.' Several
of the musicians in the orchestra joined in begging him to
yield. But Schubert had listened with increasing angerto the speech, and shouting out, at the top of his voice,'
I will alter nothing,' he shut the score with a loud bang,
placed it under his arm, and marched home. Thus there
was an end to all hope of the appointment." Kreissle
doubts this story, but there is really nothing improbablein the account. Josef Hiittenbrenner affirms that Mdlle.
Schechner was supremely charmed with Schubert's lovely
aria, and that mere theatre intrigues prevented his obtain-
ing the post. The testimony of a Professor of the Vienna
Conservatoire namely Franz Zierer an eye-witness of
the scene described, partly confirms Schindler's statement.
Mdlle. Schechner's powers were on the wane, and thus,
according to Zierer, the aria was beyond her powers.
But, he adds, Schubert remained perfectly calm through-out the rehearsal, and in his opinion never really competedfor the post.
A welcome gift of 100 florins (10) was made to our
57
Schubert
composer on September 9, 1826, by the Musik-Verein,in recognition of his services to music. The letter con-
x- -S* x veying the money speaks of his remarkableGift from
', c t ,
7,
. . .
tli M- 'b Powers an" tne zeal anc* interest he had
jr . shown for the Society.1
rFl ft
To the bare material which the year 1826
affords us, we may add that two new publishers approachedSchubert with a view to business. The first was Probst
(afterwards Senff) who, on August 26, desires a selection of
songs and piano pieces, not too hard, agreeable, and easy of
understanding. He pronounces Schubert's works as far
as he knew them marked by genius, but none the less
strange and odd. This approach was met by Schubert
in the following year, and some MSS. were despatched;
Probst, however, was much too busy with Kalkbrenner's
compositions at the time, and Schubert's fee of ^8eighty florins for each composition was thoughtexorbitant. At the same time (or to be quite accurate
on September 7) Messrs Breitkopf & Haertel proposedto issue some of the compositions subject to their author
receiving a number of copies by way of remuneration.
To this arrangement Schubert apparently did not agree.Little did that great publishing firm suspect that one
day they would gladly undertake every scrap of the same
compositions, then, as now, beyond price. They (at least),
to their lasting credit, have made noble reparation.2
1 In 1820 and 1822 Schubert had written two vocal concerted pieces
(at the request of Fraul. Josefine Frohlich) specially for the pupils of
the Conservatoire, who frequently performed them.2 Dr Max Friedlander tells the following highly diverting story in
the Vierteljahrtsschrift fur Musikwissenschaft (1893). A MS.
copy of the "Erl-king" was received by Messrs Breitkopf & Haertel
58
" Marie"
Variations
A journey to Gratz the Styrian capital had been
long projected. Jenger wrote to Madame Pachler onDecember 29, 1826, that "Friend Schubert has deter-
mined on travelling next year to Gratz;but if I do not
accompany him, the plan is sure to fall through as it
has done this year." It appears that few famous artists,
musicians, or actors, failed to visit the Pachlers, if
they found themselves in the Gratz neighbourhood, andall were made welcome. It is of interest to note that
the beautiful and highly gifted Marie Pachler had early
attracted Beethoven's affectionate friendship, and it seems
that he too had been meditating to stay in such congenial
society. As the sequel shows, Beethoven was soon to
be called away to his long home, and Schubert, later in
the year, went in his place. Passing allusion may here
be made to Herold's opera Marie, which was placedon the Vienna boards on January 18, 1827, an event
which seems to have called forth Schubert's Marievariations for piano-duet (op. 82), which came into view
in 1817, from Franz Schubert of Vienna. This appeared puzzling,
for the publishers knew only of one Franz Schubert, and he was a
Royal Church composer worthy man of some fifty years, and
resident at Dresden. To him then they applied for an explanation,which was duly furnished by the Dresden Schubert as follows :
"I
beg to inform you that I received your esteemed letter of ten days
ago, in which you enclosed a MS. setting of Goethe's "Erl-king,"
supposed to be by me. With the greatest astonishment I beg to
state that this cantata has never been composed by me. I shall
retain the same in my possession in order to learn if possible whosent you the stuff in such impolite manner, and to discover the
person who has traded on my name. I am greatly obliged for yourkindness in sending me the MS." It only remains to add that the"Erl-king" was written in 1815, and privately printed in 1821.
59
Schubert
the following month. A more important work, begun soon
afterwards, was the " Winterreise"songs. (See page 148).
At this time all Vienna was profoundly moved at the
tidings of Beethoven's mortal illness. As Schubert is in
some degree concerned, a brief extract from Schindler
should be of interest: "As the disease to which
Beethoven succumbed after four months of suffering
made it impossible for him from the very first to exert
his wonted intellectual activity, it was necessary to find
some amusement suited to him. Hence it came that
I put before him a collection of Schubert's, songs, about
sixty in all, many of them still in manuscript. This was
not done merely with a view of providing him with an
agreeable occupation, but also to give him a proper idea
of Schubert, and enable him to form a more favourable
opinion on his talent, which had been put before him
by exalted admirers in a way to make him suspicious.
The great master, who had not known more than five
songs of Schubert's before, was astonished at their
number, and would not believe that Schubert had com-
posed more than five hundred already. But if he was
surprised at their number, he was filled with the utmost
astonishment by their merits. For several days he could
not tear himself away from them, and he passed manyhours daily over "
Iphigenia,"" The Bounds of Humanity,"
"Omnipotence,"
" The Young Nun,""Viola,"
" The Miller
Songs," and others. He cried out several times with
joyful enthusiasm,"Truly in Schubert there is the divine
spark." . . . "If I had had this poem, I should also have
set it to music." It was the same with most of the
poems : he could not praise their subject and Schubert's
original treatment of them too much. And he could not
60
Last Visits to Beethoven
conceive how Schubert found leisure to exercise himself
on so many poems,' each of which contained ten others,'
as he expressed himself."
More than one visit was paid by Schubert to the bed-
side of the dying master. The first seems to have been
in the company of Anselm Hiittenbrenner. They were
announced by Schindler, who asked which of the friends
was first to be admitted. "Schubert may come first,"
was Beethoven's reply. And afterwards, when they were
together, he added, "You, Anselm, have my mind, but
Franz has my soul." On another occasion, JosefHiittenbrenner and Teltscher the painter were with him.
The dying man looked fixedly at the three friends andmade some signs which were wholly unintelligible, andSchubert was so overcome with emotion that he had to
withdraw. At the funeral, on March 29, Schubert acted
as one of the thirty-eight torch-bearers who preceded the
coffin. They were dressed in full mourning, with white
roses and bunches of lilies fastened to the crepe ontheir arms. Others of Schubert's company were Lachner,
Anschiitz, Castelli, Carl Czerny, David, and Grillparzer.
Returning with Lachner and Randhartinger from the
funeral ceremony at Wahring, Schubert ,
entered the Mehlgrube tavern and called Z? .
for wine. There he drank to the memory of
the great man whom they had just seen laid in his
resting-place. A second glass was then drunk to the
first of the assembled friends who should follow. Alas !
it was Schubert himself.
Let us pass on to more cheerful scenes. The veteran
Hummel and young Ferdinand Hiller (a lad of sixteen)were in Vienna, which they visited (in March 1827)
61
Schubert
during a more extended musical tour. They had hadthe privilege of attending Beethoven in his last days ;
they had also been present at the funeral. Their meetingwith Schubert has been recorded by Hiller 1 and givesa glimpse of the composer in society. The musicians
were met together at a soiree given by Franz von Lascny
(whose wife, nee Buchwieser, had great repute as a
vocalist), and Vogl sang Schubert's " Der blinde Knabe "
(Colley Gibber's "Blind Boy," translated into German
by Craigher) with the composer accompanying. Im-
mediately after their performance, and to Schubert's great
delight, Hummel gave a brilliant pianoforte extemporiza-tion founded upon the song just sung. Hiller remarks
that Schubert had little technique, and Vogl but little
voice, yet their interpretation was marked by so muchlife and feeling as to place it quite beyond all criticism
;
the material conditions were lost in the superb spiritual
revelation." The melodies appealed to the ear, as a
vision to the eye." No wonder that master and pupil were
much moved the older man to tears, the younger to re-
cording what he describes as the deepest musical impres-sion he ever received.
"It frequently happened," observes
Kreissle," that while the performers, instrumental and
vocal, were loaded with compliments, not a thought was
given to the little insignificant man who sat at the piano
accompanying his own songs with an earnestness and
depth of expression comparatively lost on his audience.
But the unassuming artist was all the more callous to
such coldness and neglect, when the applause with which
his own composition was greeted was at last directed to
1 See his "Aus dem Tonleben," second series, and " Kunstler-
leben," 1880, p. 49.
62
Parody
the composer himself. At meetings of this kind, and
especially in the more refined circles, where he would
sometimes, out of pure good nature, accompany his"Lieder," he was very shy and chary of talk. Whilst sitting
at the piano, his face became very serious, and directly
the piece ended he used to withdraw to an adjoiningroom. Indifferent to praise and applause, he shrank
from compliments, and felt quite wretched if his friends
expressed themselves satisfied with what they had heard.
It was very different when he found himself free of
conventional restraints. His tongue would then be
loosed in the merriest humour and talk, and he would
indulge in wit and practical jokes, many of which could
be told by Schwindt. Amongst other strange drolleries
of Schubert was his parody of the "Erl-king," which he
would sing through the teeth of a comb to the amusementof his audience. If sometimes he kept quietly to himself,
at others he would join in the merriment around him.
His laugh was not that of ordinary mirth, it consisted of
a hoarse, suppressed chuckle." On another such occasion
the great bass vocalist Lablache, who with Schubert hadbeen a torch-bearer at Beethoven's funeral, took a part
(the second bass) in the male-voice quartet" Der
Gondelfahrer," a poem of Mayrhofer's set by Schubert
three years previously. This composition was in much
request in society circles, and has been pronounced the
best work of its kind which the composer has bequeathedto us.
Towards the end of July, Fraulein Anna Frohlich (ateacher at the Vienna Conservatorium) proposed a
birthday serenade, to be given in Herr Gosmar's gardenat Unterdobling, near Vienna. The occasion was in
63
Schubert
celebration of Louise Gosmar's birthday.l
Grillparzerhad composed a poem for the day, entitled "
Zogerndleise in des Dunkels 'nacht'ger Stille," and Fraulein
Frohlich asked Schubert to set it to music, giving a
solo to her sister Josefine (a mezzo-soprano), sup-
ported by female chorus. Schubert took the MS.to a window and set back his spectacles to examine
it closely, and after reading it twice through ex-
claimed,"I have it
;'tis done already, and will go
very well." A few days later, when it was produced, it
was discovered that he had overlooked the ladies, andset it for alto-solo with male voice chorus. However, the
mistake was soon rectified, and on August n (1827),the serenade was performed.
2
The confirmation of the tale is seen in the published
versions, both of which are given in Breitkopf 's catalogue.
(See op. 135 Series xvi. No. 14, and Series xviii.
No. 4.) It is said that the effect of this serenade sung in
the clear moonlight and in the open air was enchanting." Numbers of the dwellers at Dobling stood and listened
at the garden-gate, though Schubert, as usual, was not
present at the performance."3
Writing on August 30, 1827, Jenger announced to
Madame Pachler that the visit to Gratz which he had long
1 Louise Gosmar afterwards became Frau von Sonnleithner.2 Wilberforce gets into difficulties with this little story (see his
"Schubert," p. 169). My authority is Kreissle (original edition,
p. 474 ; and Coleridge's translation, vol. ii. p. 160). Wilberforce tells
the anecdote of "Hark, hark, the lark" (Shakespeare's, which is
described also as a " Standchen "), and then applies it to Grillparzer's
"Standchen," which is quite another work, and of a different period.3 Kreissle.
64
Holiday-making
been planning for Schubert and himself was now actuallyto take place. His note is as follows :
" Next Sunday,
September 2, my friend Schubert and I start by the
Eilwagen at 9.30 P.M., and hope by the favour of God to
be with you at Gratz on Monday evening at nine o'clock.
We are already eagerly reckoning on our pleasurable visit."
The Pachler family (including the seven years old son
named " Faust ") were highly delighted to receive their
friend and his distinguished companion, who duly arrived
in his green coat and white pantaloons. Now was beguna three weeks' holiday of picnic-excursions, musical
parties, dances, and a whole round of out-door and house
amusements such as Schubert had probably never before
enjoyed." The visit at Gratz," says Kreissle,
" was en-
livened by delightful music and frequent excursions
amongst the beautiful scenes in the neighbourhood. ThePachlers at that time did not invariably live in the
country, and excursions from the town were often
undertaken to Wildbach, for instance, a small estate
belonging to a widow lady, Madame Massegg, Dr Carl
Pachler's aunt, and mother of six handsome grown-up
daughters ; to Hallerschlossel again, on the '
Ruckerlberg,'a favourite halting-place of the Pachlers
;and Jenger and
Anselm Hiittenbrenner, as well as Schubert, used to jointhem on these occasions. With regard to these picnicsand excursions, where mirth and good humour and the
society of pretty women were the order of the day,
nothing further need be said than that upon every occa-
sion a good deal of wine was consumed, and that neither
Jenger nor Schubert could be called bad hands at that
part of the ceremonies. Indoors there was no lack of
musical entertainment, the cost of which was almost
E 65
Schubert
exclusively defrayed by the two guests of the Pachler
family, for Schubert (in the absence of any singer) sanghis own songs (among others the ' Wanderer an den
Mond')and played pianoforte-duets with Jenger." Several
memorials of this visit remain. Such are the twelve" Gratz Waltzes " and the " Gratz Galop." Then there are
four songs (op. 106), including the fine "Who is Sylvia,"
dedicated to Madame Pachler. Nor must the little duet
for Master " Faust " be forgotten."I doubt if it will
meet with your approval," says Schubert in enclosing the
MS. (on October 12, 1827), "as I don't feel myself
particularly well qualified for writing things in this style."
One ominous line occurs in this letter, as follows :
" The
pains in my head, a common disorder with me, have
returned." This was written a fortnight after the two
friends had reached Vienna. Here he took up (or
resumed) his quarters at the Blue Hedgehog, a well-known
tavern in the Tuchlauben, where his faithful friend
Schober shared rooms with him. From this time forwards
till almost the last thing, Schubert seems to have resided
in the Tuchlauben. Indeed it is pointed out by Kreissle
that, excepting the five years 1817, 1819, 1820-21, 1824and 1825, Schubert's quarters were fixed in Schober's
house, or at all events there was a room there always at
his disposal.The compositions of 1827 are neither very numerous
nor important. To those already mentioned may be
added the two piano trios (op. 99 and 100), and the"Nachtgesang im Walde," for four male voices and four
horns. Then there was a sketch of an opera, mentioned
by Bauernfeld and Lachner. The libretto is said to have
been by Bauernfeld, who received assistance or advice from
66
Opus 100
Mayrhofer. But the MS. would seem to have disappeared,and is not mentioned in Breitkopf's
"complete edition."
A letter from Rochlitz (poet, critic and editor) suggest-
ing a setting of one of his poems is elsewhere dealt with,
and we may now bring the record of 1827 to an end.
It is satisfactory to remark that it ranks with the happiest
years of Schubert's life.1
With the dawn of our composer's last year (1828), his
powers are discovered at their best, and despite r . ,,.
i i i IT 11 -Last Yearoccasional complainings he was well able to
go about his work, apparently in the full vigour of bodyand mind.
On January 18, he addressed Anselm Hiittenbrenner,
recommending his brother Carl for the vacant post of
Drawing-master at the Gratz Normal-Hauptschule." He
is a clever landscape-painter," says Schubert,"as well as
a good draughtsman. . . . Bear in mind that any kindness
done to my brother I look on as done to myself." Thecommunication goes on to mention a performance of the
Trio in E flat (op. 100):"Lately a Trio of mine for Piano-
forte, Violin and 'Cello was played at Schuppanzigh's and
pleased very much. It was exquisitely rendered by Bocklet,
Schuppanzigh and Linke." This was the work of which
Schumann wrote :
" Some ten years since, a Trio of Schu-
bert's, like an angry meteor, blazed forth and outshone
everything in the musical atmosphere of the time;
this
was exactly his hundredth work, and shortly afterwards, in
November 1828, he died. . . . Time, which brings to light
such numberless and beautiful things, will not soon repro-duce another Schubert." The Trio was set great store upon
1 Kreissle states that the years 1825 and 1827 were "among the
happiest episodes of Schubert's life and progress."
6 7
Schubert
by its composer, and it had a somewhat curious career.
Written in 1827, it was commonly played in private.
On the occasion with which Schubert's letter (above
quoted) deals, Bocklet became so excited that on its
conclusion he seized the composer's hand, and kissing it,
called upon those present (in Spaun's house) to witness
what a treasure they possessed in Schubert. When offered
to Schott for publication, the work was returned. Probst,
in a letter dated April 15, 1828, wrote: "I accept the
Trio you have been so good as to offer me, at the priceof twenty florins, sixty kreuzers, which you will receive
by the three annexed cheques, duly noted and numbered."
Having acquired this notable work for seventeen shillings
and sixpence, as our currency has it, Messrs Probst pro-ceeded to ask for a dedication. Here comes Schubert's
reply surely as characteristic an one as Beethoven him-
self could have contrived " This work will be dedicated
to none but those who take delight in it that is the
most profitable dedication of any."There is but little record of Schubert's doings in 1828,
apart from composition, which so fully engrossed him.
He perhaps found himself driven to it by the inner con-
sciousness that he was as yet undelivered of his best
message to his fellow-men, or it may be that the creepingshadows of that long Night, which was so soon to close
in on his labours, spurred him on to his most strenuous
endeavours. March found him occupied with the cantata
Miriams Siegesgesang Miriam's Song of Victory
(Grillparzer's words) which curiously enough bears traces
of Handel's influence, both in the first fine strophe andin the concluding powerful fugue. It seems that after
Beethoven's death, Schubert was drawn to the study of
68
Gives a Concert
the great Saxon's oratorios, some of which not impossiblyBeethoven's own copies of the Arnold edition cameinto Schubert's possession about this period. The monthof March also brought him the great inspiration of his
life which found expression in the noble C-major
symphony (No. 7).1 As soon as he had completed the
symphony, Schubert presented it to the Musik-Verein at
Vienna for performance. The parts were copied and the
work came into rehearsal, but it was then pronounced too
long and too difficult, and so, acting on the composer's
advice, his symphony No. 6 (also in C)was played in its stead.
On March 26, Schubert, with the assistance of his
friends, and owing entirely, it is said, to their initiative,
gave a private concert in the hall of the Musical Union.
The programme and other details are given in another
chapter (see p. 158). Success crowned this practicaleffort to repair his fortunes, and the composer found
himself in possession of a balance of ^32 a handsomesum from his point of view. A few days later, all
Vienna was plunged into the throes of a grand agitation,
more remarkable even than that which Rossini's visit had
previously induced. Paganini had appeared, and all
classes of society came under his wonderful spell, includ-
ing the dandy and the small shop-keeper. Hats, gloves,
boots, were all worn a la Paganini. Walking-sticks andsnuff-boxes bore the virtuoso's likeness
;even the restaura-
teur's dishes were named after him;and all the torn-fool-
ery followed that could possibly follow in the train of a
great furore. Schubert not only attended the first of
Paganini's concerts, but found occasion to go a second
time in order to treat his friend Bauernfeld," who had
1 Described at p. 206.
69
Schubert
not five farthings, while with him money was as plenty as
blackberries." This flourishing state of affairs was not to
last. Indeed, throughout the final period of Schubert's
life, there is every indication that he was in constant needof money. Most of the prices paid him by the publisherswere little short of ridiculous, and though many of their
proposals were flattering enough on paper, their practical
issue was trifling." Be good enough to fix your own
terms," wrote Schott & Son on Feb. 9, 1828. But byOctober 30, they object to pay 60 florins as "a too
extravagant price"
for the Quintet (op. 1 1 4), and theyoffer and enclose only half the sum asked namely, 255.We have already seen that Probst bought the splendidTrio in E flat (op. 100) for 175. 6d., and, in this same~ year, Franz Lachner at Schubert's request
T^ c
took half a dozen of the " Winterreise"
f songs to Haslinger the publisher, who pur-~P chased them at one gulden a-piece that is
tenpence each. How could the most prolific writer in
the world exist on such sums ?
Early in January, Jenger had been writing about the
summer holidays for himself and Schwammerl (Schubert'snone too elegant nickname), and in May a letter passedfrom Traweger (of Gmunden) quoting friendly terms for
board and lodging. Then, again, in a letter of July 4,
1828, Jenger writes as follows :
"The absence of two of my subordinates for the
purpose of taking the waters at Baden, added to the not
very brilliant state of the finances of my friend Schubert,who begs to send all sorts of good wishes to you, and his
friend Dr Carl, will prevent us both from accepting yourkind invitation to visit you at Gratz. Schubert, besides,
70
Pauvrete n'est pas Vice
has the project of passing a part of the summer in
Gmunden and the neighbourhood, where he has received
a number of invitations;
but hitherto, the pecuniarydifficulties before alluded to have prevented him from
carrying out his project. He is still here at present,
working zealously at a new Mass," (probably the grandMass in E flat, explains Kreissle), "and is only on the
look out come from what quarter it may for the cash
necessary to support his immediate flight to UpperAustria. Under these circumstances our excursion might
possibly come off, as it did last year, at the beginning of
the month of September."All these attempts to escape from the heated city to
the freedom and beauty of a country excursion were
doomed to failure. On September 25, Schubert writes
to Jenger who was then awaiting his company for the
trip to Gratz "I have already handed over to Haslinger
the second part of the '
Winterreise.' It's all over with
my journey to Gratz for this year, for my pecuniary pros-
pects, like those of the weather, are downright gloomyand unfavourable. I accept with pleasure the invitation
of Dr Menz, as I should be very glad to hear BaronSchonstein sing. On Saturday afternoon you can meetme at Bogner's coffee-house, Singerstrasse, between four
and five o'clock." In a postscript he adds that his newaddress is
" Neue Wieden, Firmians-Gasse, No. 694,second floor, right-hand side." If, however, Schubert
was prevented from taking a proper holiday by the
lack of funds, he, at any rate, availed himself of the
favoured surroundings of his native city. Thus, on
June 3, he was at Baden, twelve miles south of Vienna,where amid pleasant sights and sounds lulled perhaps
Schubert
by the falls of Schwachat, or beside the murmuringwaters of the Helenenthal, he wrote the Fugue in E minor,for four hands (op. 152) so dry a piece of work called
for romantic surroundings. He was preparing for the
Mass in E flat. Work now flowed freely from his pen.
July saw the completion of the 92nd Psalm, in the Hebrew
tongue, for two baritones, soprano, alto and bass
afterwards published without the composer's knowledge,in the Schir Zion of the Cantor Sulzer, at Vienna. In
August he set thirteen of the Schwanengesang ;and
September brought forth the three pianoforte sonatas,
in B flat, C minor and A, which he had intended to
dedicate to Hummel. The publishers (Diabelli) after-
wards dedicated them to Robert Schumann. In the samemonth Schubert composed a little piece for chorus andwind instruments (oboes, clarinets, bassoons, horns and
trumpets), entitled"Glaube, Hoffnung und Liebe
"
(words by F. Reil), which was performed at the conse-
cration of a new bell at the Church of the Holy Trinity,
in the Alservorstadt. During October, he wrote a newBenedictus for the Mass in C, the String Quintet in C(op. 163), and an Offertorium,
" Intende voci orationis
meae," for tenor solo, chorus and orchestra. The last
piece of work of this kind that he set his hand to
was the "Taubenpost
"(words by Seidl), which fittingly
appears at the end of the "Schwanengesang."
" Death with gentle but premonitory steps"
(says
Kreissle)"had, in the September of this year, stolen on
him;and a brief time was to elapse, when, as in Mozart's
case, a few quieter days had given hopes of restoration
to health, and then death's relentless grasp was to carry
off his victim." From Ferdinand Schubert and Franz
72
Sudden Illness
von Schober we learn that early in September, Schubert
took up his lodgings with his brother Ferdinand, in a
newly built house in a new street in the Wieden suburb.
Schubert, by the advice of Dr Rinna, Court physician,came here, in order to be near the country, where he
might take plenty of air and exercise;
for his sufferings
from constant giddiness and sudden rushes of blood
to the head were fast increasing. Meanwhile Schober,as he had often done before, retained his room for him
against his return, which, however, was never to be. Aconsultation of physicians was now held, and the patient
again rallied. At the beginning of October he was able
to take a short walking excursion to Unter-Waltersdorf,and on to Eisenstadt, some twenty-five miles out from
Vienna, where in company of Ferdinand and two other
friends a visit was paid to Joseph Haydn's grave. Thoughduring this journey he seemed to enjoy excellent spirits,
in spite of extreme abstemiousness in his eating and
drinking, no sooner was home reached after five days'
absence, than the old trouble reasserted itself with re-
doubled energy. On October 31, while at dinner in the
"Zum rothen Kreuz," a favourite eating-house of his,
in the Himmelpfortgrund, after swallowing a ,..,
morsel Schubert suddenly flung down his
knife and fork, declaring the fish tasted like poison.Henceforwards he took little but medicine. He was
still able to walk, and together with Carl Holz (one of
Schuppanzigh's quartet party), heard a performance of
Beethoven's Quartet in C sharp minor, which so agitatedSchubert that his friends were quite alarmed. Then,
again, early on the morning of November 3, he walked
from the Neu-Wieden to Hernals, where he heard his
73
Schubert
brother Ferdinand's Requiem Mass (for chorus and
orchestra), which proved indeed the last mortal strains
vouchsafed him. For three hours, after the Requiem,he wandered about, and finally reached home much ex-
hausted. Once more he rallied, and he and Lanz
(a Vienna pianoforte teacher) called upon Sechter, the
famous theorist, with a view to Schubert's receiving a
course of instruction in counterpoint. It is said that
everything was arranged, the text-book (Marpurg's) fixed
upon, and the hour of the lesson. The project was never
carried out, for Schubert's health was rapidly giving way." The history of our composer's life," says Kreissle,
" was
thus robbed of one of the strangest spectacles that of
Herr Sechter and Franz Schubert absorbed in a joint
musical labour."
The friends who visited Schubert in his last illness
included Spaun, Bauernfeld, Lachner, and J. Hiitten-
brenner. Bauernfeld mentions in his" Sketches
"that
Schubert spoke of a new libretto for an opera when
lying on his death-bed. Lachner, who had seen him
just before starting on his tour in search of artists for
the Karnthnerthor theatre, relates as follows :
"Schubert, when I visited him the last time before I
left, was in full possession of all his senses, and I con-
versed several hours with my dearest friend and most
unassuming and modest of artists. He told me of his
several plans for the future, and looked forward with
eager delight to his recovery that he might finish his
opera Der Graf von Gleichen, for which Bauernfeld
had written words. He had sketched out a large part
of this opera." On the other hand, Ferdinand's wife,
who would have every opportunity of judging, is said,
74
Last Letter
on the authority of Fraulein Geisler, to have stated that
no one visited Schubert with the exception of Rand-
hartinger. Schober certainly kept away, as Schubert's
letter his last plainly shows. 1
[Nov. ii, (?) 1828.]
DEAR SCHOBER, I am ill, and have eaten and drunk
nothing for eleven days. I have become so ,.
exhausted and shaky, that I can only get rfrom the bed to the chair and back. DrRinna is attending me. If I taste anything, it at onceinduces sickness. In this distressed condition, kindlyassist me to some reading. Of Fenimore Cooper, I
have already read " The Last of the Mohicans,"" The
Spy,"" The Pilot
" and " The Pioneers." If you have
anything else of his, I entreat you to leave it with Frau
von Bogner, at the coffee-house. My brother, who is
conscientiousness itself, will duly bring it or anythingelse to your friend, SCHUBERT.
Schober's answer is not now forthcoming, but doubtless
the books were immediately forwarded. About this time
the doctor himself fell ill, and in place of Rinna, Staff-
surgeon Behring attended Schubert, during his last few
days of life.
His great weakness had driven him to his bed on the
1 4th, but the end was not yet, as we find him sitting
up and correcting the proofs of his" Winterreise
"songs.
The occupation was a melancholy one Miiller's gloomypoems echoed back by his own tragic muse, and set in
the surroundings of death. A sick man, however, welcomes1 Bauernfeld quotes this letter in Die Presse, April 21, 1869.
75
Schubert
any relief, and even this task might tend to cheer the
lone hours. Two days later (on the Sunday) there was
a consultation of doctors, who apparently did not then
anticipate the worst. On the following afternoon, friend
Bauernfeld had some conversation with the patient, whotalked of his ardent wish for a good opera-libretto. To-
wards evening Schubert became delirious. Tuesday saw
him in the throes of typhus. The scene of these last
days is indeed a touching one. He who had sung so
bravely (alike in joy and in grief) of life and of hope, was
now laid low. The dread path lay before him the
bitter cup was raised; and as we tell over the brief
years of his life no more than thirty-one the pathseems bleaker and the cup more bitter. Franz, in his
fever, imagined he was in a strange place and was con-
tinually trying to rise from his bed. One comforting
ray there was in the gloom of this sad chamber, and it
was kindled by the tenderness and loving care of his
brother Ferdinand, who at this time was ministering like
an angel to the wants of the poor stricken Franz. AsFerdinand bent over him, Franz whispered,
" What are
they doing with me ?" and he replied,
" Dear Franz, theyare doing all they can to get you well again, and the
Doctor tells us you will soon be alright, but you must
do your best by staying in bed." But the invalid is not
easily soothed. "I entreat you," says he, "to put mein my own room, and do not leave me in this corner
under the earth. Do I not deserve a place above
ground ?" To this, poor Ferdinand, at his wits' end how
to smooth his troubled pillow, replies," Dear Franz, be
calm and trust your own Ferdinand, whom you have
always trusted, he who loves you so dearly. You are
76
His End
in your own room, which you have always had, and
you are lying in your own bed." But "No," says Franz,
"that cannot be true, for Beethoven is not here." 1 So
strangely did the departed spirit of his brother-musician
seem to haunt his memory in these last hours. A little
later, Schubert seems to have realised that the hand of
death was indeed upon him;
for when the doctor cameand spoke some soothing word to him, the poor dyingman regarded him intently, then turned his face to
the wall, and striving to grasp it with his weak hands,exclaimed in slow, broken tones,
"Here, here is my end."
The end came at three that afternoon, it being
Wednesday, November igth, 1828, and the life of this
man so precious in the sight of ordinary mortals was
rendered back again to Him who gave it;and as, with
sorrowing eyes, we gaze into the gloom of that still
chamber, who can doubt but that quires of angels sanghim to his rest, and that his place would be with the
abode of the Blessed ?
Early on the morning of this last day, Schubert's father
had written to his son as follows :
" DEAR SON FERDINAND, The days of trouble andheaviness are lowering sorely upon us. The dangerousillness of our beloved Franz weighs heavily on our souls.
All that we can do in this sad time is to seek comfort from
our Heavenly Father, and bear every sorrow appointed us
by a wise Providence with firm submission to His holywill. The result will convince us of the wisdom and
goodness of God. Be of courage then, and put your
1Quoted from Ferdinand Schubert's letter to his father, dated
Nov. 21, 1828, 6 A.M.
77
Schubert
trust in Him. He will strengthen you that you sink
not under this sorrow;His blessing will keep a yet happy
future in store for you. Take every possible precautionthat our dear Franz have administered to him at once the
Holy Sacraments given to the dying ;and I live in a cheer-
ful hope that the Almighty will strengthen and preservehim.
"Thy father, afflicted, and yet strengthened by trust in
God, FRANZ."
Later in the day, the father had the painful duty of
issuing the obituary notice as follows :
"Yesterday afternoon, at three o'clock on Wednesday,
my beloved son Franz Schubert, artist and composer, died
after a short illness, and having received the Holy Sacra-
ments of the Church. He died at the age of thirty-two.
We beg to announce to our dear friends and neighboursthat the body of the deceased will be taken on the 2ist
of this month, at half-past two in the afternoon, from the
house standing No. 694 in the new street on the Neuen-
Wieden, to be buried near the bishop's stall in the parishchurch of St Josef in Margarethen, where the holy rites
will be administered."
FRANZ SCHUBERT,School-teacher in the Rossati.
VIENNA, November 20, 1828.
The funeral took place on the day appointed, but the
place of burial was changed almost at the last moment, in
accordance with the expressed wishes (as they were inter-
preted by Ferdinand) of Schubert himself. "Franz"
78
Franz's Resting-place
(said Ferdinand) "himself induced me to think of Wahringfor his resting-place." Then he quotes the conversation
and dying speech already given, adding," Is not this an
index, so to speak, of his heartfelt wish to rest by the side
of Beethoven, whom he so deeply reverenced ?" Ferdinand
carried his point, and the remains were laid to rest close
beside Beethoven's grave, but three places distant from it.
A crowd of relations, friends and sympathisers took their
last view of the body, which lay as if asleep, with face un-
changed by death, dressed in the habiliments of a hermit,
with a laurel-wreath round the temples. Then the coffin
was borne away by students and officials, mostly youngmen who had been intimate wtth the composer. Schober
was chief mourner, and some verses by him were sung to
Schubert's " Pax Vobiscum," with an accompaniment of
wind instruments, before the interment, at the parish
church, where Domcapellmeister Gansbacher conducted a
funeral motet of his own composition. The funeral ex-
penses cost Ferdinand and his father"seventy florins a
large sum"(said the former, in referring to the sad item)
" a very large sum;but very little for the honour of
Franz's resting-place." The original memorial had an
epitaph by Grillparzer, and was designed from a sketch bySchober, acting with an architect named Forster, and a
master-mason Wasserburgher. In 1863 the body was
exhumed (as was Beethoven's), and a cast and photographof the skull were taken. After reburial, a new memorial
took the place of the original one, and Grillparzer's epitaphwas replaced by the simple inscription FRANZ SCHUBERT.On May 15, 1872, the Vienna Mannergesang Verein
erected a monument (a recumbent figure) in Carrara
marble by Carl Kuntmann. This cost 42,000 florins,
79
Schubert
and is placed in the Stadt-Park. The original epitaph,which awaked much contention in its day, is as
follows :
DIETONKUNST BEGRUB HIER EINEN REICHEN BESITZABER NOCH VIEL SCHOENERE HOFFNUNGEN.
FRANZ SCHUBERT LIEGT HIER.GEBOREN AM XXXI. JAENNER MDCCXCVII.GESTORBEN AM XIX. NOV. MDCCCXXVIII.
XXXI JAHRE ALT. 1
1 Music has here entombed a rich treasure,
But still fairer hopes.Franz Schubert lies here.
Born Jan. 31, 1797;Died Nov. 19, 1828,
31 years old.
80
The Man
Complimentary descriptions by friends Portraits Schubert's char-
acter Religion Friends Acquaintance A lost opportunityMutual friends Schubertiaden Leaves from a Diary Countryvisits Mistress and maid VIENNA Daily habits Taverns ;
their
advantages and disadvantages Schubert as poet A bad business-
man Mayrhofer's view of Schubert's circumstances Sense of
humour His laugh Nicknames Value of the Diary and private
writings" My Dream "
Diary for 1824 Literary tastes
Schubert's effects.
NATURE, so prodigal of her gifts of brain and heart,
seems to have given but sparingly of those personalattractions which go so far towards reconciling geniuswith the outside world. Like Mozart, Schubert was of
insignificant appearance, his stature barely reaching to five
feet one inch. Stout of figure, with rounded shoulders,
fleshy arms, and thick, short fingers much redeemed,
however, by a picturesque head, showing a profusion of
black, vigorous hair, remarkably expressive eyes always
spectacled, an insignificant nose and fine teeth, Schubert
had but small physical aids to the battle of life.
Kreissle, his first biographer, who had the advantage of
conversing with several of the composer's intimate
friends, describes the presence and personal appearanceof Schubert as anything but attractive.
" His round and
puffy face," says he," low forehead, projecting lips, bushy
F 81
Schubert
eyebrows, stumpy nose, and short curly hair, gave himthat negro look which corresponds with that conveyed bythe bust which is to be found at the Wahring churchyard."He further observes that " however uncomely, nay, almost
repulsive, his exterior, the spiritual and hidden part of the
man was noble and abundantly endowed." Schubert's
friend, Franz Lachner, describes the composer (almost~ .... vulgarly) as
"just like a cabman." Wilhelm
Descriptions ,
& J'. ..*.
, ~ . j Chezy, in his"Ermnerungen aus meinem
by jFnenas T ,
J, i_ *TS. r ,u
Leben, 1863, speaks of "the person of the
short, stumpy composer, whose exterior was like a tallow-
ketch (Talglumperi), but whose beaming eyes nevertheless
betrayed at first glance the depth of the fire therein
concealed." The broad, almost massive, lower jaw
bespeaks purpose, determination, if not obstinacy. The
lips slightly protrude, while the features generally are
naturally mobile, in repose uninteresting perhaps, but
upon due occasion capable of considerable expression.The eyes, so commonly an index of the soul, were clear
and peculiarly bright and penetrating. From quite early
youth Schubert wore spectacles. Spaun says that the
composer sometimes spent the night at his house, that he
slept in his spectacles, and, in the morning, while but half
dressed, would go to the pianoforte and improvise.The most successful portraits include an engraving by
Passini, founded on a sketch by Wilhelm Rieder;a
. lithograph by Clarot, also from a drawing byRieder
;a painted miniature originally in the
possession of Spaun ;a drawing by Leopold Kupelwieser
(found in 1862) which is dated 1821;and some small
plaster casts sold by Haslinger.Passini's engraving, which is reproduced in our frontis-
82
Character
piece, was made from a replica dated 1840, now in the
Musik-Verein, Vienna. The original of this favourite
portrait is a half-length, three-quarter-face, done in water-
colours in 1825, and purchased by Dr Granitsch in 1881for 120. Kupelwieser's head of Schubert is an un-
attractive presentment, which may be seen prefixed to
Kreissle's biography. The bust on the tomb is pronouncedby Grove to be " a very prosaic version of his features."
Reserve was Schubert's most prominent characteristic.
He could certainly have said with Beethoven " no mortal
man hath lifted my veil." The inner life of FranzSchubert was screened from all inquisitive eyes. That it
was extremely simple, there is everything to show; while
whatever of complex thought or emotion arose in the
mind of this remarkable being was duly translated into
song, and transferred to paper, at white heat and with
lightning rapidity. Then for the most part the mood wasdismissed.
"I compose every morning," says he,
" andwhen one piece is finished I begin another." Occasions,
however, there were, when his thoughts did not so lightlyreturn to their normal channel
; as, for example, on the
completion of the " Winterreise"
songs, when heannounced to his friends :
" You will soon learn the
reasons of my growing despondency. I will sing for you,at Schober's, some awfully gloomy songs ; they have hada great effect on me." l
Generous beyond belief, Schubert had not the least
taint of malice or meanness in his nature. He could
have stood for the exemplar of Lander's utterance"
I strove with none,For none was worthy of my strife.
"
1Spaun's
" Memoirs."
83
Schubert
It was only in later life that he came to know Beethoven
personally, and it was only then that he could possiblyhave appreciated him as a man. Once known, he was
ever afterwards revered. The greatness of that solitary
life seems to have come upon Schubert as a revelation,
and he had him constantly in mind towards the end.
The increased seriousness and deeper import of Schubert's
later works must be attributed to the influence of the
master-mind of the older composer, not to speak of those
last sad scenes in which Schubert bore a part.
Modesty that universally appreciated gift, so rarely
bestowed by the gods on the children of song was
Schubert's undoubted heritage. He could leave out self
from all estimates of others and their works. If he failed
to obtain a post as indeed he invariably did the
winner was sure of a good word. He could admire
the genius of Rossini not an easy task for a Vienna
composer of Schubert's day. He could cheerfully pay
(at a high rate) for admission for himself and Bauernfeld
to hear Paganini. Nor was he short of courage ;for
though he fled in haste from Beethoven, who had con-
veyed some gentle censure with marked courtesy and
consideration, he still dared to face Weber over a
principle. The incident has already been given (p. 45).Schubert's absolute dislike of praise is another markedcharacteristic of the man. Any mention of his ownmerit seems to have had the effect of making him shrink
into himself, if indeed he did not turn his back on the
offender. "That man likes everything I do," said he,
in open ridicule of Josef Hiittenbrenner, thereby earningfor himself the nickname of
"the tyrant." His diary
for June 13, 1816, quoted later, contains a remarkable
84
Religion
instance of modesty, where in mentioning a performanceof his own setting of " Rastlose Liebe," he adds that
"much of the applause must be attributed to Goethe."
On the occasion of a party at Princess Kinsky's, where
a number of Schubert's songs were sung," with not a
thought for the little insignificant man at the piano,"the hostess vexed with her guests' behaviour, said somekind words in their excuse to the composer; Schubert
replied that she need not trouble herself about the
matter;he was used to it, and was more at his ease if he
might remain unnoticed.
His philosophy of life does not seem to have been
fixed by any very hard and fast rule.j? r
Creation of music was his first and last care,
and to this everything had to give way. Given that, he
was in the full exercise of his splendid faculties, he was
doing the right. Nothing else mattered. This is the
simple explanation of his conduct, as it appears to us.
Of his religion little or nothing is known. Certainly the
Masses breathe forth a piety and deep feeling which nonebut a good man could offer. Pure, lofty, beautiful
sentiment informs these works as certainly as it does the
sacred compositions of Bach, Beethoven or Handel.
But while admitting so much, we are no nearer to an
accurate declaration of Schubert's religion. He was
baptised in the Catholic Church so much is learned
from his birth-certificate. It is also seen from his father's
announcement of the musician's death, that he had
received the last Sacraments from his mother Church.
The Viennese were chiefly Catholic, possessing, however,a large Jewish community and a comparatively small
sprinkling of Protestants, at the time of which we are
Schubert
writing. It is worthy of note that Schubert (with true
artistic impartiality) contributed a setting of the Hebrewversion of the 9 2nd Psalm, which was duly produced bySulzer at the Vienna Synagogue.
In early boyhood Schubert had the reputation of beingboth quick and intelligent. He was fond of his homeand family ;
while outside, his frankness won him friends
at every step. He soon became a favourite alike with
his teachers and school-mates. Holzer (his first teacher
outside the home-circle) recalled with tears in his eyes,
young Franzl's initial efforts in organ-playing and the
pride and joy with which he witnessed his first attemptsat extemporisation. At the Convict School, Spaun (theleader of the boys' orchestra) was immediately struck bythe clever manner in which the lad handled his violin,
and the acquaintance thus formed ripened into a life-long
friendship. It was during these days at the Convict
that Schubert first became attracted by the music and
personality of Beethoven, some of whose symphonies andovertures were in regular practice at the school. Aglimpse of the man himself came to Schubert throughhis fellow-students. The band, it appears, had been
ordered to Schonbrunn, where were Beethoven and
Teyber (the music-master of the Archduke Rudolf), andits youthful members had enjoyed the privilege of playingin the master's presence. This little incident, however,had happened a short time before Schubert's arrival, andhe had therefore to content himself with the story of
his companions' visit which he took great delight in
hearing repeated. The lad was not without his day-dreams at this period, for we find him, after a performanceof some settings of Klopstock's poems, asking of a fellow-
86
Convict School
pupil present, if he really thought he could hope to
accomplish anything of worth. "You have already donesome first-rate work," answered his young friend
;to
which Schubert replied,"
I too sometimes think so ;
but who can ever hope to do anything after Beethoven ?"
The Convict authorities did not pamper their charges.Schubert's first letter (quoted at p. 6) shows that theywere sparing of food ; the following passage quoted froma treatise by Kenner, further proves that they were, if
possible, still more economical in the matter of fuel." In
the instrumental practice-room"(says Kenner),
"during
leisure hours after dinner, Albert Stadler, a composer,and Anton Holzapfel, his form-fellow, used to playBeethoven's and Zumsteeg's works, and on such occasions
I represented the audience. The room was never heated,and the cold fearful. Occasionally Spaun joined the
party, and Schubert also, after he left the Convict.
Stadler played the pianoforte, Holzapfel sang ; occasionallySchubert sat down to the piano. Leopold Ebner did not
become intimately acquainted with Schubert until after
the latter had left the Convict ;for Schubert, off and
on, for a couple of years, used to visit his friends at the
institute, and run through with them his latest songsand pianoforte works."
Josef Spaun himself one of the truest and most dis-
interested of friends brought about most of , , ^o u u ,.> i f j u TT *.
ScnuberrsSchubert s principal friendships. He it was ^ . ,
u ^ j j.u L T-L j Friendswho introduced the young musician to Theodor
Korner, who is understood to have persuaded Schubert to
take the course he did in quitting the Convict in order to de-
vote himself wholly to music. Franz von Schober came to
know Schubert through Spaun. But of all the friends with
87
Schubert
whom Schubert came in contact, Vogl was the one whoinfluenced Schubert most in his music. The composerhad long admired the great singer at the opera-house,and it was due to Spaun and Schober that the two menwere brought together. A scarcely less powerful friend
was, at a later period, discovered in Baron Schonstein,
whom Schubert met at Count Esterhazy's country seat at
Zelesz, in Hungary. The Baron was not only an en-
thusiastic admirer, but an active and capable performer of
Schubert's songs. So late as 1838 (ten years after
Schubert's death), Liszt heard Schonstein, and wrote of
him in the Gazette Musicale as follows :
" Dans les
salons j'entends avec un plaisir tres-vif, et souvent uneemotion qui allait jusqu'aux larmes, un amateur le Baron
Schonstein dire les Lieder de Schubert. La traduction
frangaise ne nous donne qu'une idee tres-imparfaite de
ce qu'est 1'union de ces poesies presque toutes extreme-
ment belles avec la musique de Schubert, le musicien le
plus poete qui fut jamais. La langue allemande est
admirable dans 1'ordre du sentiment, peut-etre aussi n'y-
a-t-il qu'un Allemand qui sache bien comprendre la
naivete et la fantaisie de plusieurs de ses compositions,leur charme capricieux, leur abandon melancolique. LeBaron Schonstein les declame avec la science d'un grandartiste, et les chante avec la sensibilite simple d'un
amateur qui se laisse aller a ses emotions sans se
preoccuper du public."J
1 " In the Salons here I have often heard Schubert's songs given
by the Baron Schonstein, always with the liveliest pleasure, and often
with an emotion which moved me to tears. The French version
gives but a very poor idea of the manner in which Schubert, the
most poetical musician that ever lived, has united his music to the
88
The Sonnleithners
Schubert's growing reputation brought him in touch
with music-lovers of all ranks in life, some members of
which were of good social standing in Vienna. Hecannot be said to have always felt drawn to the repre-
sentatives of rank and wealth, and he certainly did not
share Beethoven's (humorously described) gift of " im-
posing on the aristocracy." Conspicuous among the best
class of Schubert's acquaintances was Dr Ignaz von
Sonnleithner, at whose house a number of artists andamateurs foregathered periodically, for the practice of
music. During the years 1815-1824, songs, chamberand choral music were practised every Friday in the
summer months, and fortnightly during the winter.
Schubert's music was in constant demand, and such
works were produced as the cantata Prometheus, the"Gesang der Geister iiber den Wassern," and the 23rd
Psalm. Here too the "Erl-king
" was sung (Dec. i,
1820) by August von Gymnich, with brilliant success.
The meetings were first held in the Gundelhof, where was
accommodation for some 120 people. To the Sonnleithners
belongs the credit of bringing the "Erl-king
"to successful
publication. Leopold von Sonnleithner (advocate and
accomplished amateur), nephew of Dr Ignaz, was no less
a valuable patron of Schubert, who met at his house the
sisters Frohlich, Grillparzer the poet, Schwindt the painter,
words of these poems, which are often extremely beautiful. TheGerman language is admirable for sentiment, and it is all but im-
possible for anyone not a German to enter into the naivete and fancyof many of these compositions, their capricious charm, their depth of
melancholy. The Baron gives them with the declamatory science of
a great artist, and the simple feeling of an amateur who thinks onlyof his own emotions and forgets the public.
"
89
Schubert
and others with whom he was intimate. Leopold Sonn-
leithner also took great pains to preserve Schubert's
songs, many of which he collected in their original form.
From a letter dated March 26, 1821, it is seen that Sonn-
leithner had no little difficulty in prevailing upon Schubert
to attend the rehearsals of his own works. "I beg you,"
writes he to Josef Hiittenbrenner, "to take particular
care, and see that Schubert comes to-morrow to Frl.
Linhardt, to rehearse with her ' Der Jiingling,' which she
sings with me;and afterwards that Schubert comes to me
on Wednesday at half-past twelve o'clock, to try over his'
Geisterchor.' I count on your good services to getSchubert to be certain and attend these rehearsals. I
must honestly confess my surprise that he never conies
near me, as I am very anxious to speak to him abouthis
'
Erl-king' and other matters."
Schubert used also to visit Matthias von Collin
brother of the poet at whose house he met many distin-
guished people, such as Hammer-Purgstall the Orientalist,
Count Moritz Dietrichstein, Caroline Pichler the authoress,and Ladislaus Pyrker, Patriarch of Venice and a recognised
poet. Meetings also took place every week at Frau von
Andre's, where it is said" music was made until past
midnight," the sociable company including the brothers
Carl and Josef Czerny, Linke the 'cellist, the elder and
younger Giuliani, the two tenors Barth and Binder, andRauscher the opera-baritone. Here too came Schubert and
UmlauffjOne of the male-voice party which introduced muchof the composer's concerted vocal music to the public.
1
1 The Schubert singers were twelve ; their names were as follows :
Tieze, Barth, Umlauff, Gotz, Nejebse, Weinkopf, Friihwald,
Heitzinger, Rauscher, Ruprecht, Seipelt, and Johann Nestroy.
90
Umlauff
Of Umlauff some further particulars may be given, as he
preserves an interesting anecdote concerning the subjectof this biography. Carl Umlauff, an Austrian officer of
justice, resident in Vienna during the years 1818-1822,was an enthusiastic member of the Schubert male-voice
party, for which several important pieces were composedby Schubert, such as the original version of the "
Gesangder Geister uber den Wassern." In 1822, Umlauff was
summoned on official duty in the eastern provinces,where besides following his profession in the Buko-
wina," he sang
"(says Kreissle)
" to Bojaren, who hadfled thither out of Turkey, the earliest of Schubert's
songs." Umlauff used to visit Schubert in the morningbefore office hours, and usually found him jotting downhis music as he lay in his bed, or seated at his desk.
He would often sing to the composer his latest songs,
accompanying himself on a guitar. His son (who relates
the story) adds that" he ventured to argue the propriety
of the musical expression given to single words;
but
Schubert, who was very tenacious of his own views, wouldnever lend himself to an alteration of what was once
written down. Of my father's stories"(continues young
Umlauff)"I remember only one controversy he had with
Schubert, on the subject of the question in the ' Wanderer '
' O Land, wo bist du ?' Schubert insisted on emphasis-
ing the word bist, Umlauff the word du. Schubert stuck to
his opinion, and the line was published in this form."
Allusion has already been made to the surprising fact
of Beethoven and Schubert living for a quarter of a
century in the same city without becoming acquainted.What an opportunity for an ideal friendship was thus lost.
Had the two men learned to know one another the annals
Schubert
of music might have matched those of poetry ;and by the
side of the famous friendships of Virgil and Horace, of
Goethe and Schiller, of Metastasio and Farinelli, there
would have appeared those of Beethoven and Schubert.
Schindler's account of the meeting of the composers in
1822 has already been quoted. The evidence of
Ferdinand Schubert does not add materially to our scantyrecord of the relations of the two men, for when asked as
to his brother's relationship with Beethoven, his answer
was merely that "they very seldom came together."
Another scrap of information is afforded by William Lenz
(a biographer of Beethoven), who states that " Franz
Schubert knew Beethoven only a short time. People had
misrepresented to Schubert the noble spirit of Beethoven,and purposely kept him away from Beethoven." Kreissle
adds that"Beethoven, as is well known, was often to be
met with at the ' Fuchshole'
in the Paternostergasschen,
kept by Herr Steiner, and there Schubert often fell in with
him." The words italicised probably mean no more than
that the two men occasionally took their meals at the
same eating-house. Schubert had a thorough knowledgeof Beethoven's principal works, such as the Symphonies,which he had heard at public concerts, and was accustomed
to play as piano-duets with Gahy, the Hiittenbrenners, or
Jenger. On the other hand, Beethoven knew only a few
insignificant songs of Schubert, and had taken little or notrouble about Schubert's performances.
Prominent among the mutual friends of the two menwere Carl Pinterics, Anselm and Josef Hiittenbrenner,
and Schindler, and (in a lesser degree) Count Dietrichstein,
Count Troyer, Grillparzer the poet, Teltscher the
painter, the quartet-players Schuppanzigh and Linke, and
92
Schubertiaden
Leidesdorf the picture-dealer and music-seller. Beet-
hoven's old friends, the Pachlers, Schubert only became
acquainted with when the great master had passed
away. Carl Pinterics, an accomplished pianoforte-player,and private secretary to Count Pallfy, lived at the"Zuckerbackhaus," where Schubert, Vogl, Schober,
Gahy and other of their friends frequently visited him.
Pinterics was a particular friend of Beethoven, with whomhe often went to the " Blumenstockl." The secretaryfound time to make a collection of 505 of Schubert's
songs, the value of which was unfortunately much reduced
owing to his miserable habit of making alterations in the
text a trick which Vogl also resorted to. Josef
Hiittenbrenner, for the greater part of his life, worked in
Schubert's interest;but whether through lack of influence
or inadequate tact, he met with quite disproportionatesuccess. The two visits to Beethoven in 1827 (already
described) show that Schubert visited the dying man in
company with Anselm Hiittenbrenner and Schindler, andafterwards (on the final occasion) with Josef Hiittenbrenner
and Teltscher.
Mention has already been made of many of Schubert's
friends and acquaintances; some of these, with the addition
of a group of young men drawn from official circles, the
arts, and philosophy all men of an intellectual turn and
possessing aspirations banded together in a kind of
social union, which became known by the<-,
, ,
name of Schubertiaden. Games were played, . ,
dancing and speech-making were cultivated,
while the heart of the whole entertainment was discovered
in the performance of Schubert's latest songs, and other
of his compositions.
93
Schubert
These doings were by no means confined to Vienna,but were carried to such places as Linz, St Polten, the
castle of Ochsenburg, and Atzenbruck in the neighbour-hood of Abtetten. A three days' festival was held annuallyat the last named place, to which a large number of ladies
and gentlemen were invited. One of these scenes weare enabled to reproduce from a sketch, dated 1821,
preserved by Heinrich von Dobloff, showing the repre-
sentation of an allegory, with Schober, Kupelwieser and
several young ladies taking part ;while seated in the
foreground is Schubert, easily recognised in his spectacles,
looking intently at the performers. Among the regularattendants on these occasions were Schwindt, Bauernfeld,and Anton Dobloff, and of course Schubert himself, who,it is said, "paid for his salt with marches, schottisches
and waltzes some of which appear under the title
" Atzenbrucken Tanze." Franz von Schober has left it
on record that" the intellectual enjoyments of these
scenes, no participator can ever forget as long as he lives."
Besides the regular Schubertiaden, parties and excursions
in the country were organised, and on these Schubert
must perforce put in an attendance, if only to please his
companions. Occasionally, at some of these merry-
makings, it is whispered that the wine-cup circulated too
freely, and the midnight hour passed by unregarded.In striking contrast to the gaiety of these Schubertiaden,
are the grave and thoughtful utterances contained in the
. few leaves preserved from his diary, which, in
point of time, dates back to the year 1816.
Aloys Fuchs recovered the fragment from an autograph-collector in Vienna. The vendor had been parting with
the leaves separately, and thus the greater part had been
94
< *
Immortal Mozart !
irrecoverably lost before Herr Fuchs appeared on the
scene.
June 13, 1 8 1 6."I shall remember this clear, bright,
beautiful day for the rest of my life. Softly, as if from
afar, the magic tones of Mozart's music echo in my ears.
Schlesinger's masterly playing impressed them deep on
my heart, so powerfully and yet so tenderly. In such
wise doth beauty impress the soul immune from time
to work for our good. In life's darkest day there is
thus a shining horizon of hope. O Mozart ! immortal
Mozart ! what countless images of a brighter and better
world hast thou stamped on our souls. This quintet,
among the smaller works, may be described as one of
the greatest. Upon this occasion I too was moved to
introduce myself. I played Beethoven's variations, and
sang Gothe's ' Rastlose Liebe' and Schiller's
' Amalia.'
The first won applause, the second but scant praise.
Yet I believe my' Rastlose Liebe
'
to be more suc-
cessful than 'Amalia'; but much of the applausemust be attributed to the genius of Gothe. On the
same occasion I made the acquaintance of Mdlle. Jenny,a pianist with extraordinary powers of execution, thoughI found her lacking in the subtleties of expression."The remarks which follow were jotted down on
Schubert's returning from Salieri's jubilee festival.
June 1 6, 1816. "It cannot but be pleasing and
stimulating to the artist to have all his pupils gatheredabout him, each striving his best, in honour of the
master's jubilee-fete ;to hear in their compositions a
simple and natural expression, free of all that bizarrerie
which in most of the compositions of our time is the
prevailing element, for which we have chiefly to thank
95
Schubert
one of our greatest German artists; free, I say, of all this,
which links the tragic with the comic, the pleasing with
the disagreeable, the heroic with the puling, the mostsacred subjects with the profane all without discrimina-
tion, so that men become mad or frantic instead of
being moved, and stirred to laughter rather than raised
towards heaven. That all this miserable confusion
should be under ban and ignored by the circle of his
pupils, so that they may face Nature in her purity, must
be a source of the liveliest pleasure to the artist, who,with Gluck for his forerunner, has studied Nature, andhas clung to her despite the evil influences of our day.
" Herr Salieri celebrated his jubilee, having been fifty
years in Vienna, and an almost equal period in the
Emperor's service. His Majesty presented him with a
gold medal;and many of his pupils, male and female,
were invited to the ceremony. The pupils' compositions,
specially written for the occasion, were produced in order,
according to the date of admission of each pupil. Themusic ended with a chorus from Salieri's oratorio Jesu al
Limbo (Christ in Hades). The oratorio is designed in
the true Gluck style. Everyone was pleased with the
entertainment."To-day I composed for money for the first time the
work was a cantata (Prometheus] for the name-day festival
of Herr Professor Watteroth von Draxler. The honor-
arium was 100 florins, Viennese currency.1
" Man is like a ball tossed 'twixt chance and passion. I
have often heard it said by literary men that' the world is
like a stage, where every man plays his part. Praise andblame follow in the other world.' Still, every man has a
1 100 florins Viennese =40 florins Austrian=^4 sterling.
96
Proverbial Philosophy
part assigned him 'tis given to him and who shall saywhether he has played it well or ill? He is a bad
theatrical manager who distributes among his players
parts unsuited to their capacities. Carelessness in such
a matter is not to be thought of. There is no instance
of an actor being dismissed for bad declamation. Give
him a part for which he is adapted, he will play it well
enough. The applause rests with a capricious public.
In the other world, praise or blame depends upon the
grand Manager of the globe. Blame, therefore, is put in
the balance." Natural disposition and education determine the mind
and heart of man. The heart is ruler;the mind should be.
" Take men as they are, not as they ought to be."Happy he who finds a true friend
; happier he whofinds a true friend in his wife. To a free man, marriagehas become a fearsome thought ;
he is lost between
dulness and sensuality." Man bears misfortune without complaint, and thus
it pains him the more. Why did heaven give us these
tender sympathies ? Light tongue, light heart;a light
tongue oft hides a heavy heart. Urbanity is a barrier
between men of integrity."
The two journeys to Zelesz, in Hungary, were the
longest, as they were also the most fortunate, ~.
which Schubert ever undertook. He was' U" r?
actively teaching the Esterhazy family, and so
earning a definite salary, while the mountain air and
methodical household habits were both of undoubted
benefit. Both visits have already been described. It is
however interesting to note that Baron Schonstein, whomSchubert met at Zelesz, had been devoted exclusively
G 97
Schubert
to Italian music. He no sooner made the young Viennese
composer's acquaintance than he became a convert
like Vogl before him to the German "Lied," as re-
presented by Schubert's songs. With the EsterhazysSchubert became an established favourite. It is curious
to read a list of the works practised by this accomplished
family when Schubert first came to stay with themin 1818
;it included Hadyn's Creation and Seasons
Mozart's "Requiem," and Anselm Hiittenbrenner's " Der
Abend," which was much admired by Schubert. In the
course of time many pieces of Schubert's were added to
this repertory ; and, in at least one case, the work was
the exclusive possession of Countess Esterhazy, who set
great store by the MS., and could scarcely be induced to
part with it for publication. On the occasion of Schubert's
first visit to Zelesz, Caroline Esterhazy was a mere child
(she was born in 1806); but six years later, Schubert
found his pupil grown into a handsome young lady of
irresistible charm. Kreissle (his first biographer) is at
such pains to prove that Schubert had a love-affair, and
that he never "proposed," that he almost contradicts
himself. "Schubert" (says he) "very often made him-
self merry at the expense of any friends of his who fell
in love. He too was by no means proof against the
tender passion, bu* never seriously compromised himself.
Nothing is known of any lasting passion, and he seems
never to have thought seriously about matrimony; but he
certainly coquetted with love, and was no stranger to the
deeper and truer affections. Soon after his entering into
the Esterhazy family, he had a flirtation with one of the
servants, which soon paled before a more romantic passion,
which consumed the inflammatory Schubert. This was
98
Devout Lover
for the Countess's younger daughter, Caroline. Theflame was not extinguished before his death. Caroline
esteemed him, and appreciated his genius, but did not
return his love, and probably never guessed its extent
and fervency. His feelings towards her must have
been clear enough, by Schubert's own declaration." Hethen quotes the remark about everything being dedicated
to Caroline, which has already been given. The follow-
ing lines by Bauernfeld are supposed to have reference to
this episode in Schubert's life :
" Verliebt war Schubert ; der Schvilerin
Gait's, einer der jungen Comtessen,Doch gab er sich einer ganz andern bin,
Um die andere zu vergessen."1
However beneficial the Hungarian air and Schubert
confesses himself to be a new man one thing is quiteclear he is heartily glad to get back to Vienna.
It is not to be wondered at that Vienna, long the headof the musical world, should have such a remarkable
fascination for Schubert. Robert Schumann felt its
subtle magic when, some years later, he penned the
following lines :
"It is true this Vienna, with its tower of
St Stephen's, its lovely women, its pageantry, and the
way it spreads over the smiling plain, ; at gradually rises
into ever loftier hills, enwound by the Danube with
countless bands : this Vienna, with all its memories of the
greatest German masters, must be a fruitful field for the
1 " In love with a Countess of youthful grace,
A pupil of Gait's : in desperate case
Young Schubert surrenders himself to another,
And fain would avoid such affectionate pother."
99
Schubert
musician's fancy. Often when I gazed at it from the
mountain-tops, it came into my mind how frequentlyBeethoven's eyes must have wandered restlessly to
that distant chain of Alps ;how Mozart may oft have
followed dreamily the course of the Danube, which
always seems to swim in wood and forest;and how
father Haydn may have looked up at the tower of
St Stephen's shaking his head at such a giddy height.
The pictures of the Danube, the tower of St Stephen's,and the distant Alpine summits, put in one frame, andbreathed upon with a faint odour of Catholic incense
that is a picture of Vienna; and with that charminglandscape living before you, you feel that chords are
touched within you which would otherwise never have
vibrated. At the touch of Schubert's symphony, and the
clear, blossoming, romantic life in it, the town rises more
clearly than ever before me, and again I see most plainly
that it is just in such a neighbourhood that such works
can be born."
Schubert's daily habits were simple, and almost mono-,, , . , tonous in their regularity. He was an earlyHabits . , .. ,.
riser, and it was his custom to begin the daywith composition pursued half-dressed or even in bed,it was a matter of indifference or with experimental
extempore playing on the pianoforte of ideas which were
afterwards to be jotted down. This exercise continued
till the breakfast hour, after which work was resumed,and briskly carried forward until two o'clock in the
afternoon. Then he would repair to a restaurant,
usually the Gasthaus, where he could dine for a Zwanziger
(8^d.) a sum not always at his command. Dinner
over, he was free for the rest of the day, which would
100
o
Charms of Liberty
commonly be spent in walking in the delightful surround-
ings of the city. In Schubert's later years he was to be
found at Bogner's coffee-house from 5 to 7, smoking a
pipe and enjoying the conversation of friends. The
evening was sometimes devoted to the theatre, after
which there would be supper at the Gasthaus, and
perhaps a final visit to Bogner's cafe. Not an infrequentalternative to such a programme would lead to an after-
noon call on Fraulein Anna Milder, or Madame Lacsny-Buchwieser : the Esterhazys, with whom he was on friendly
terms without regard to music : or to the rooms of
Madame Sofie Miiller (the great actress), who had the
courage on one of these occasions to sing" Die junge
Nonne" at sight. A fine summer evening would take
precedence of any town appointment, and Schubert andhis friends would stray at their own sweet will, regardlessof everything but the enjoyment of the hour.
Tavern-life in Vienna was a mere commonplace to a
bachelor, who would naturally resort to suchT j
J,, Taverns
places, just as in London a man would repairto his club. Beethoven, surrounded by his friends, mightany day be seen at the Gasthaus, where he often dined,and where, no doubt, Schubert looked on him with aninterest and regard of which the great man was perfectlyoblivious. Schubert had, of course, at various times other
favourite tavern-haunts, such as the "zur UngarischenKrone," in the Himmelpfortgasse, where he and his
companions were wont to foregather,1 or the " Zum rothen
Kreuz," where his brother Ferdinand joined him at
dinner. Ferdinand did not mix with the troop of friends
1Writing to Spaun in 1822, Schober remarks with surprise,
" Wefound ' Die Krone
'
completely deserted."
IOI
Schubert
which commonly surrounded the composer ; his youngerbrother Carl (the painter), on the contrary, often frequentedthe round table of intimates which was wont to assemble
of an evening. Poets and painters have brought manya modest and obscure little inn into notoriety, surround-
ing them with a fragrant memory, which speaks en-
chantment to succeeding generations. It is doubtful
if any such place before 1826 ever witnessed the birth
of so beautiful a work of art as the setting of " Hark !
hark the lark," which the Wahring beer-garden saw broughtto light. One Sunday in July, Schubert, Doppler andothers were returning to Vienna from Potzleinsdorf, and
strolling through the village of Wahring, they espied there
a friend, Tieze, seated at one of the tables of the " ZumBiersack." They agreed to call a halt, and Schubert sat
down beside Tieze, and began to turn over the leaves of
his book that was lying open on the table. Suddenly he
stopped and, pointing to some verses, exclaimed," Such
a lovely melody has come into my head;
if I had but
a sheet of music-paper with me." The resourceful
Doppler drew some lines on the back of a bill of
fare and, then and there, in the midst of all the
attendant noise of fiddlers and skittle-players, of waiters
running here and there in different directions with
orders, in the full hubbub of a holiday crowd, Schubert
wrote that lovely song truly" a wonderful sweet air,
with admirable rich words to it." Beer-gardens deserve
better of mankind in consequence. There is another
view of the tavern-life of our hero which is not so
pleasant to contemplate. The authority for the suc-
ceeding remarks is found in W. Chezy's" Recollections
of my Life" (vol. ii. p. 292). Schubert became over-
102
Poet and Musician
fond of good wine. He even took a curious pride in
the accidents which resulted from over-indulgence. Whenthe juice of the grape flowed in his veins, he wouldretire to a solitary corner, and there nurse himself
comfortably into a passion. Chezy assures us that" he became a laughing tyrant
" whatever that may be"and would destroy everything he could, without
making a noise glasses, plates, cups, etc. and sit simper-
ing and screwing up his eyes into the smallest possible
compass." When the Kellner came for the reckoning,the guest placed his hand quietly underneath the table,
and the number of fingers he held up indicated the
number of measures consumed. It is also said that his
illness was aggravated by carelessness in these tavern
matters.
The occasional poetical exercises of our musician have
already been mentioned. He began early,
with a composition for his father's birthday
fete, acting as his own librettist. Salieri's jubilee called
forth a " harmless libretto of his own rhymes," and there
are others, a small specimen of which may be seen in the
two following sets of verses, which Ferdinand Schubert
published in the Leipzigtr Musikzeitung of 1 838. The first
piece is dated September 1820.
" Lasst sie nur in ihrem Wahn,"Spricht der Geist der Welt," Er ist's, der im schwanken KahnSo sie mir erhalt."
" Leave them to their self-deceit,"
Thus the world may say ;
" He who rules the waves that beat,
Holdeth us in sway."
103
Schubert
Lasst sie rennen ; jagen nur
Hin nach einem fernen Ziel,
Glauben viel, beweisen viel
Auf der dunkeln Spur.
Nichts ist wahr von ailedcm.
Doch ist's kein Verlust,
Menschlich ist ihr Weltsystem,Gottlieb bin ich's mir bewusst.
Let them hurry wildly on
Towards the distant goal,
Much have they to trust upon ;
Vague is Time's dull scroll.
Truth eludes their weaker grasp,
Fails their beck or nod ;
Dust and ashes would they clasp ;
Man, trust thou in God.
Schumann remarked of the two little poems that, though
they betray an unpractised hand, they still show a poetical
aptitude and bias which Schubert's friends well knew himto possess.The second poem, entitled " My Prayer," has been
thought to have reference to the theological differences in
the Schubert family. Franz took little part in these, but
his brother Ignaz seems to have been considerably exer-
cised, to the point of open rebellion from his father's
creed, which was of the orthodox pattern.
104
My Prayer
MEIN GEBET.Tiefer Sehnsucht heil'ges BangenWill in schon're Welten langen ;
Mochte fiillen dunklen RaumMit allmacht'gem Liebestraum.
Grosser Vater ! reich* dem Sohne,Tiefer Schmerzen nun zum Lohne,
Endlich als ErlosungsmahlDeiner Liebe ew'gen Strahl.
Sieh, vernichtet liegt im Staube,
Unerhortem Gram zum Raube,Meines Lebens MartergangNahend ew'gem Untergang.
Todt' es und mich selber todte,
Stiirz' nur Alles in die Lethe,
Und ein reines kraft'ges Sein
Lass', O Grosser ! dann gedeih'n.
Longings of the heart so tearful,
Fain would yield to thoughts more cheerful,
Quitting gloom, to rise above
Clouds of doubt, to realms of love.
Mighty Father, let Thy givingBe of sorrow, for the living ;
Sorrow changing into bliss,
When redeem'd are things amiss.
Lo, defiled in dust a-lying,
Grief and pain and heavy cryingLife yields all a flickering spark ;
Soon 'tis snuffd in endless dark.
Strike, nor spare not my poor being ;
Hurl beyond the reach of seeing ;
Then in mercy pure and blest,
Grant, O God, eternal rest.
105
Schubert
The poet's adage, "baud facile emergunt quorumvirtutibus obstat Res angusta domi,"
l found eloquentillustration in Schubert's case. As a boy he had scarce
food enough ; he was short of music-paper to write upon ;
for years he had no rooms of his own;he was unable to
take proper holidays owing to lack of means;and last
thing of all, there was not sufficient estate to pay for his
funeral. Being unable to wait, he was obliged to
accept any offer from music-publishers ;and his trans-
actions, in which his modesty was usually. taken full advantage of by the grasping
publishers, are, with few exceptions, hope-
lessly foolish. That he was a bad business-
man goes without saying. Surrounded as he was by clever
men whose advice at the very least should have been
sought, Schubert in a weak moment, when no doubt
short of money, allowed Diabelli to persuade him to partwith the copyright of the first twelve books of his songsfor 800 florins. A portion of these works (op. 1-7), as
we have seen, was published by the efforts of the Sonn-
leithners as Schubert's own property. It is further to be
noted that 800 copies of (op. i) the "Erl-king
" had been
sold in nine months ;while the set of twenty songs (i.e.
op. 1-7) brought in the sum of 2000 Gulden, which
(allowing lod. per Gulder) amounts to ^83, 6s. 8d. Hereis a list of some of Schubert's known transactions not
put forward to encourage other composers, who manage this
part of their business better nowadays, but rather to showthat Mayrhofer's view, quoted below, was a reasonable
one.
1 " Slow rises worth by poverty depressed." JUVENAL.
1 06
Vera pro Gratis
1816. Cantata for Herr Watteroth ("thefirst time I composed for money") ^4 o o
1822. Profit on twenty songs during one
year's sale, 2000 Gulden (half of
which went to the publisher),
^83, 6s. 8d., less 50% . 41 13 41822. Sold the plates and copyright of the
above (besides entering into
some foolish agreements respect-
ing future works) to Diabelli . 70 o o
1825. Seven Scott songs sold to Artaria . 20 o o
1825. Sonata (op. 53), Divertissement (op.
54), Artaria, 300 Vienna florins 12 o o
1828. Impromptus and five-part songs for
male voices, sold to Schott, 200silver Gulden . . . 2100
1828. Quintet, 30 florins, Schott . 1501828. Six songs from the
"Winterreise,"
per F. Lachner, sold to Haslinger
(6 Gulden) . . . 050(After the above remarkable transaction Schubert wrote
"It's all over with my journey to Gratz this year ;
I have
already handed over to Haslinger the second part of the"Winterreise.")
1828. Trio in E flat (op. 100), sold to Probst
for 20 florins, 60 kreutzers . ^o 17 6
A few further items may be set down :
1822. The dedication of op. 2.("Gretchenam Spinnrade ") to Count Moritz
Friess was rewarded with twentyducats (? gold)
-. . i o o o
107
Schubert
Dedication of op. 4. (three songs,
including "The Wanderer") to
the Patriarch Ladislaus Pyrker,twelve ducats (? gold). . ^6 o o
1826. Gift of the Musik-Verein in recog-nition of his services to Music . 10 o o
1828. Schubert's concert realised a clear
profit of . . . 3200At the composer's death a large
number of MSS. were valued in
the official inventory at . 086In 1872 the Mannergesang-Verein (Vienna) erected a
monument to Schubert's memory which cost 42,000florins, or .1700.One is strongly reminded of old Sam Wesley's lines,
intended for another occasion it is true, but none the less
applicable :
' ' See him when starved to death and turned to dust,
Presented with a monumental bust.
The poet's fate is here in emblem shown,He asked for bread and he received a stone.
"
A comparison of the sums other musicians were receiv-
ing in Schubert's day shows that Beethoven in 1801
obtained ;io a-piece for the septet, the first symphony,a sonata (in B flat, op. 22) and a concerto (No. i).
Rossini drew $2 per opera, and contrived to write four
per annum. Hiinten received 2000 francs for each
pianoforte piece, of eight or ten pages (i.e. ^83, 6s. Sd.).1
It may be added that Probst (the publisher) intimated
to Schubert that he thought his price, quoted at eighty1 On the authority of Weitzmann.
1 08
Saving Grace
florins (^3, 6s. 8d.) per piece, too much, and mentions
with great pride that he is busy with " the complete works
of Kalkbrenner "!
There is little doubt that Schubert conducted his affairs
without reference to his friends, who were genuinely sorrythat his transactions were so fruitless.
" When I consider
the illnesses and pecuniary embarrassments of my poorfriend
"(says Mayrhofer),
"it invariably occurs to me that
he failed particularly in two things which might have
grounded his financial position and made him entirely in-
dependent. Contrary to a well-digested scheme, andone actually in the course of operation, he disposed of
the copyright in these and other works that followed, and
neglected a favourable combination of circumstances for
obtaining a good musical appointment, with a regular
salary attached. A love of enjoyment, confirmed by depriva-tions in early life, and ignorance of the world, may have
led him to commit such errors. In later times (1827 and
1828), he always made modest offers to the publishers,which they thought exorbitant."
It is certain that Schubert did not lack a sense of
humour, for when rid of conventional restraint he would
indulge himself to the top of his bent in
merriment and practical jokes. His favourite
drollery, when in this vein, was a performance of the " Erl-
king"through the teeth of a comb, a feat which always
drew the laughter and applause of his audience. His own
laugh, we are told by Kreissle, was no ordinary mirthful
performance ;
"it consisted of a hoarse, suppressed
chuckle." Schubert did not dance, but he was ever
ready to extemporise by the hour for those who desired to
trip it lightly. He is said to have turned some of these
109
Schubert
fleeting fancies to practical account by repeating such
strains as pleased him until he was able to carry them in
his memory. They were afterwards written down. Nodoubt the "Gratzer Galopp," and the " Gratzer Walzer," pre-
serve ideas which sprang to his fingers as he sat playingon such occasions. Then there are the " Erste Walzer,"which Schumann's picturesque pen cleverly characterises
as " Little fairies, hovering over the earth, no taller than a
flower, how I love the ' Sehnsuchtswalzer '
steeped in a
hundred virgin thoughts. How I dislike the three last,
which, as aesthetic errors in the main, I can't forgive the
composer."When living with Mayrhofer (in 1819) the composer
and poet seem to have amused themselves with
"Jest and youthful jollity,
Quips, and cranks, ..."
of many sorts,"for whilst we were together
"(says Mayr-
hofer)"many a curious thing happened. Both of us were
of the right temperament and opportunities there were in
plenty for droll amusements. We used to tease each
other and exchange pleasantries and epigrams for our
mutual benefit. A favourite joke with Mayrhofer was to
charge at Schubert with a sword-stick with a bayonetfastened at the point, shouting out the while in an
Austrian dialect," Was halt mich denn ab, du kloaner
Raker ?"
to which Schubert, while thrusting him back,
would reply,"Waldl, wilder Verfasser." This little scene
is testified to by Gahy, who witnessed it more than once.
Mayrhofer adds that his friend's "free, open-hearted,cheerful manner, and my retired nature came into sharp
contrast, and gave us an opportunity of nicknaming each
no
Dreams a Dream
other appropriately as though we were playing certain
parts assigned us. Alas, it was the only role I ever
played." The mention of nicknames reminds us that
Schubert enjoyed a full share of these friendly soubriquets.As a boy it was the " Miller
";
then it became the"Tyrant" ;
later (as we have seen) he was called" Kane-
vas"
;and finally he was widely known among friends
not excepting the ladies by the atrociously vulgar nameof "Schwammerl." 1 A few of his acquaintance with
better taste preferred to call him "Bertl."
No one who studies the biography of Franz Schubert
can fail to observe that he (if anyone ever did) lived a
dual life. His outward demeanour was that of an ordinarymortal shy, awkward and retiring ;
his inner habitation
was with the immortals. Heaven was in his mind. " In
ordinary life"(says Franz Schober)
"the opportunity was
only offered to a select few, and only to those on the rarest
occasions, of convincing themselves of Schubert's entire
nobility of soul, and this they arrived at through scenes andconversations which cannot easily be repeated or described."
With such a man all documents privately written are likely
to be so many confidences, which, as is observed bySchober (above-quoted), were rarely vouchsafed to his
dearest friends. The following narrative, entitled" My
Dream," is dated July 3, 1822; but though we can tell
the dream, we cannot show the interpretation, which must
therefore be left to the reader.
July 3, 1822. "I was one of a number of brothers
and sisters. Our father and mother were ~
worthy people, and I was deeply attached ^
to the whole circle. One day my father took us to a
Bauernfeld addresses him in a letter as the "fattest of friends."
Ill
Schubert
favourite spot, on a party of pleasure. My brothers
were in high glee, but I was wretched. Then myfather came to me and bade me enjoy the good thingsset before me
;but I could not. Whereupon, in a rage,
my father banished me from his presence. I turned
away my steps, and with a heart full of boundless love
for those who despised it, I betook me into a distant land.
During long years I felt myself preyed upon alternately
by the greatest pain and the most fervent love. Then it
was that the news of my mother's death came to me. I
hastened to see her, and my father, softened by affliction,
did not then stay my going. So I gazed on the dead
body of my mother. My eyes were blinded by tears.
Like the dear old departed days, to which my motherhad once thought we should be able to look back, even
as she had looked back, she was lying dead before me.
And we followed her bier in mourning and woe and the
coffin sank into the earth. My father once more took meinto his favourite garden ;
he asked me if I liked it. Butthe garden had grown hateful to me and I dared not
speak. My father, whose anger was kindling a second
time, asked me if I liked the garden. I trembled andsaid
" No." Then my father struck me and I fled. Soa second time my steps were turned away and with a
heart overflowing with love for those who scorned it. For
many long, long years I sang my songs. If I were fain
to sing of love, it turned to pain ;if I would sing of pain,
it turned to love. Thus was I divided between love and
sorrow. It came about that I was told of a pious maidenwho had just died. A crowd gathered about her tomb,and in the midst of that crowd were many youths andold men who wandered on and on, as though in great joy.
112
Diary
They spoke gently, as though fearing to awaken the
maiden. Heavenly thoughts seemed, like sparks of fire,
to be for ever darting on the youths upwards from the
maiden's sepulchre, and a quiet rustling noise was heard.
I felt afraid to walk there."By miracle only is it that
you are come to this place," said the people. And I
advanced to the grave with slow steps and concentrated
gaze, but before I could have imagined it possible, I found
myself in a circle from which there arose spontaneouslya most wonderful strain of music, and I felt the bliss of
eternity concentrated as it were into a single moment.There too did I see my father, who was reconciled and
loving towards me. He clasped me in his arms and wept.But I wept more sorely than he."
Sir George Grove observes of the foregoing narrative,
that it is hard to guess what events or circumstances
Schubert had in his mind. "It may not improbably
have been occasioned by some dispute on religious
subjects of the nature of those hinted at in his brother
Ignaz's letter of October 12, 1818. At any rate it is
deeply pathetic and poetical."
Perhaps the most convincing proof that Schober andothers were right, when they characterised Schubert as a
man of reticence and reserve, is to be found in the small
surviving fragment of the diary for 1824. In his entryfor March 27, Schubert confesses the solitariness which
most thoughtful men experience, and apparently nonemore so than men of an acutely sensitive temperament.A homily might be written upon each of the reflections
quoted below. It is a high courage that dictates such an
expression as " Grief sharpens the understanding and
strengthens the soul." This was no idle echo of ancient
H 113
Schubert
wisdom, to a man who had survived the fiery ordeals
which Schubert had undergone. Nor will anyone be
inclined to doubt the diarist's remark concerning his
own music, which our English poet contemporary with
Schubert, and endowed like him with but brief span of
life had expressed so beautifully :
1
"We look before and after,
We pine for what is not :
Our sincerest laughterWith some pain is fraught ;
Our sweetest songs are those that tell of saddest thought."
"Grief sharpens the understanding and strengthensthe soul, whereas joy seldom troubles itself about the
former, and makes the latter effeminate or frivolous.""
I hate from my inmost heart the narrow, one-sided
view of things which makes so many wretched people
imagine that what they alone pursue is the only good,and that all else is worthless. One great ideal should
possess a man through life, it is true, but the light of
this enthusiasm should illumine all else."
March 27. "No one understands the grief or joy of
others. We always imagine we are approaching each
other, whereas we travel in parallel lines. Oh, the
misery of him who experiences this !
"
"My compositions in music are the product of mymind and spring from my sorrow
;those only that were
born of grief give the greatest delight to the outside
world."" The sublime is but a step removed from the ridicu-
1 Solomon uttered the same thought :" Even in laughter the
heart is sorrowful." PROVERBS xiv. 13.
114
Remarkable Rochlitz
lous, just as wisdom is a near neighbour of crass
folly."" Man enters the world in faith, which is far ahead of
reason and knowledge ;for to understand anything he
must first have faith. It is the higher basis upon which
the weak understanding rears its first pillars of proof.
Reason is nothing but belief analysed."March 29. "Oh Fancy, thou inscrutable fount, from
which artists and learned men do drink. Abide with us,
though known and honoured of few; abide, and safe-
guard us against so-called wisdom, that skeleton without
flesh or blood."
Friedrich Johann Rochlitz critic and founder of the
Leipsic Allgemeine musikalische Zeitung comes into
brief and unenviable prominence through his extraordinary
persistence in attempting to obtain a worthy setting of
one of his own poems. He had made the acquaintanceof Schubert in 1822 when he visited Vienna to confer
with Beethoven regarding a proposed setting of Goethe's
"Faust." Five years later (on Nov. 7, 1827) Rochlitz
wrote to Schubert, who had meanwhile set three of his
songs (as op. 81), in the following terms: " Herr
Haslinger has told you how grateful I am for your
settings of my three songs, and how I wish that youwould illustrate by your lovely music some longer workof mine. . . . The poem I have in mind is
" Dererste Ton," which you will find in the fifth volume of
my collected works. . . . And here I will give you myideas of what would be appropriate music. . . . Overture
a short sharp chord; FF to begin with, and then
possibly a long sustained passage for clarinet or horn,with pauses. Then, opening calmly and gradually,
"5
Schubert
clothed in music becoming gloomier as it proceeds,and more intricate in character, treated harmonicallyrather than melodiously a sort of chaos, which only
by degrees develops and becomes brighter." Rochlitz's
amusing directions to the composer (of which our quota-tion is a fair sample) may be matched by Dryden'sinstruction to Purcell, which appears as follows in the
adaptation of the "Tempest
":
" A Symphony of Musick,like trumpets, to which four Tritons dance." Rochlitz's
poem had been set by Weber as early as 1808, but
the poet was not satisfied and thought the result far
from good. He then tried to induce Beethoven to set
the poem ;the master, however, suspected that such a
work might recall Haydn's Creation a dire imputa-tion to be avoided at all costs. Schubert, when it cameto his turn to be solicited, viewed " Der erste Ton "
with
no less diffidence;and so it came about that the " short
sharp chord, FF to begin with, and then possibly a
long sustained passage for clarinet or horn, with pauses,"was never written.
Schubert's taste in literature is not easily gauged,, . either from his selection of words for songs,
1
rp . or judging from the references in his letters;
for the one is altogether too catholic, andthe other too meagre to afford solid grounds for an
opinion. In the last letter he wrote, there is mention
of four of Fenimore Cooper's works, one of which -
" The Last of the Mohicans " Schubert must have read
as soon as the translation was published, for the book
itself did not appear until 1826. In this connection too
1 A complete list of the poets drawn upon in Schubert's songswill be found on pp. 134-137.
116
Sharing Rooms
may be noted the formation of a social union which
had for its object the reading and study of the classics.
These meetings were usually held at Schober's or
Bruchmann's, when one of the two friends acted as
reader. Homer was one of the authors studied. The
only reference Schubert makes to this Society is in his
letter to Kupelwieser, dated March 31, 1824. "Our
Society, as you will have heard by this time, came to an
end, owing to the increase of undesirable members,
given to beer-drinking and sausage-eating ;its dissolution
followed in two days. I had, however, given up attending
immediately after your departure."A proposal was made on September 13, 1826, by
Bauernfeld, on behalf of Schwindt and himself, to share
rooms in common with Schubert. " Moritz Schwindt
and I propose to you to join us in sharing a commonlodging-house for all three, if you are content. Do say
yes; we should so like to join forces." Schubert
replied a few days later :
" As regards our joint oc-
cupation, I should like the thing very much, but knowingas I well do what comes of such student association, I
should not like to be left at last to stumble between two
stools." Bauernfeld describes in the Vienna Presse of
April 17, 1869, the working of this arrangement. It
was disastrous to poor Schubert from any sensible
point of view. Both Schwindt and Bauernfeld were
much younger men, and on Schubert fell the whole re-
sponsibility of providing for all three. His slender incomefrom the sale of his compositions, scarcely enough for
one, was hopelessly inadequate to meet the expensesincurred by the friends, who rarely stinted themselves
when funds were available. One occasion is recorded
117
Schubert
when Bauernfeld and Schubert met by chance at a
coffee-house near the Karnthnerthor theatre, and dis-
covered each other in the act of ordering a cafe au lait
and biscuits, because neither had the requisite Zwanziger
(8|d.) for dinner. Not only did the three share their
rooms in common, but the arrangement actually extended
to hats, coats, boots and cravats. The evenings were
spent at the Gasthaus, after which the company wouldwander forth in the city and its environs until daylightdrove them home to their separate quarters, or to the
room of one, where the whole party commonly put
up.I cannot do better than close this part of my account
by quoting Schindler's summary of Schubert's life, and
adding the official inventory of the composer's goods andchattels.
"It is true
"(says Schindler)
" that there was
neither hill nor valley in Schubert's life, nothing but a
level plain, over which he moved at an even pace. Hisframe of mind was also tranquil and clear as a mirror,
difficult to be irritated by external things, and in perfect
harmony with the essence of his character. His days
passed as befitted the offspring of a humble sphere, whohad been born poor and remained poor. He lived at
home till his tenth year ;from thence to his seventeenth
year a singer in the imperial Convict and on the benches
of the gymnasium ;three years usher with his father in the
Lichtenthal school; finally, a pianoforte-player, and an
admirable one, as well as a composer, writing what he
chose, and remaining free and independent, as his
publisher gave him fifteen florins for a sheet of songs,
and fifteen florins for a pianoforte composition. His
early poverty had guarded him against the temptation
118
Schindler's Summary
of the high demands and desires which we meet with in
other musicians. Family wants and cares, dating froman early and imprudent marriage, did not hamper his
genius ; for he stood alone in his magic circle, not dis-
turbed by the prose of domestic life. During the last eight
years of his life he had given up the office of musical
teacher, which was also the source of much labour and
ingratitude. He made no journeys worthy of the name,
excepting a few short trips to Upper Austria. One reason
of the obscurity to which Schubert's talent was con-
demned during his life-time lay in a certain obstinacy,an unbending habit, which, without detracting from his
declared independence, made him absolutely deaf to
good and practical counsels on the part of well-meaningfriends. This characteristic often appeared in social
intercourse as well as in musical matters, but it is not
to be attributed to an excessive self-esteem, or over-
weening self-confidence. The devotion shown by Schubert
on all occasions for the great musicians, his unwearied
endeavours to improve himself, show that there is no
ground for such an accusation. Schubert did not knowthe feelings of jealousy and thirst for fame which do so
much to stimulate some artists to activity ; his love
of retirement, and his quiet life, bear witness to the
purity of his ambition. He was quick to detect flattery,
however cautiously it was administered, and he was
positively indifferent to praise; the utmost applausebestowed on any of his works did not produce a changeof countenance."
Schubert died intestate. In the official inventory the
possessions of the musician and composer (" Tonkunstler
und Compositeur ") are mentioned as follows :
119
Schubert
3 dress coats;
3 walking coats;
i o pairs of trousers ;
9 waistcoats ; 3 7 florins
1 hat;
5 pairs of shoes;
2 pairs of boots;
2 florins
4 shirts;
9 cravats;and pocket-
handkerchiefs ;
1 3 pairs of socks;
i towel ;i sheet
;2
bed-cases ;8 florins
i mattress;i bolster;
i quilt ;6 florins
A quantity of old
music;
l 10 florins
Total 63 florins (about ^2, los.)
1 The item of old music is understood to have included a vast store
of MSS., among which was the great C-major symphony.
I2O
The Musician
A family-quartet grows into an orchestra Feats in musical compositionRevisions and corrections Song-writing Zumsteeg and Schubert
"King of Thule" Poets set by Schubert Breitkopf & Haertel's
edition of the songs" The Erl-king
"English songs "Die schone
Miillerin" " Winterreise
" "Schwanengesang
"Opera Why
Schubert failed Librettists Schubert gives a concert Sacred
music An oratorio written in secret Music in chalk Mass in Eflat Schubert as a pianist and composer for the pianoforte Hebreaks down in his own piece Pianist's point of view The theorists
G-major sonata Opus 53 Sonata in A minor String quartets
Schubert's music in England Treasure trove Schubert's combina-
tions The symphonies L'envoi.
THE musician in Schubert was chiefly manifested in
his works, for though a gifted singer and violinist in his
school-days, and a passable pianist in later life, neither
as performer or conductor, nor in any branch of executive
art, did he achieve any measure of fame. He gave upsinging when his voice broke in 1813, and never againreturned to it, excepting as an amusement for others,
when no other voice was available. To his violin he
was faithful for many years, not only at the Convict, to
which as a past student he always had ready admission,but also in the family circle, where string quartet-playing
(as we have already seen) was in regular cultivation.
This quartet which originally included Ferdinand
Schubert, Ignaz, Franz and his father, was destined to
121
Schubert
play an important part in Franz's education, inasmuchas it formed the nucleus from whence sprang a completeorchestra. Among the earliest recruits were Herr Josef
Doppler (bassoon), Ferdinand Bogner (flute), the two
'cello-players Kamauf and Willmann, and Reidlpacherthe double-bass-player. The elder Schubert's house
was soon found too small for this growing Society, and a
move was consequently made to a house in the
Dorotheengasse. Before the winter of 1815, it was
possible to play small symphonies, such as the lesser
works of Haydn, Mozart, Pleyel and Rosetti. The
gatherings now began to attract attention, and rarelywent without a numerous audience of friends and acquaint-ances. Again the quarters proved inadequate, and the
orchestra migrated to Schottenhofer, the residence of
Otto Hatwig (once a member of the Burg theatre). Onthe removal of Hatwig, the orchestra followed to his
new house in the Gundelhof. Many first-rate playerswere attracted by the Society's performances, the repertoryof which became more imposing as the years advanced.
The larger symphonies of Haydn, Mozart, Krommer and
Romberg, and the two first symphonies of Beethovenwere now within its reach. Then there were overtures
by Cherubini, Catel, Spontini, Boieldieu, Mehul, Winterand Weigl. Even the bare list of composers is instructive,
inasmuch as it casts some light on the musical doings of
young Vienna in the early part of the nineteenth century.The importance of the Society to Schubert now becomes
apparent ;here he would gain experience not only as an
executant (for like Beethoven and Mozart he playedthe viola), but also in writing and conducting his earlier
symphonies and overtures. Those he specially wrote
122
Clairvoyance
for the Society were the two symphonies (No. 4. in Cminor, and No. 5 in B flat) and two overtures (one in Bflat, and the other known as "in the Italian style").The concerts or open practices for no admission fee
was charged were not confined to instrumental music;
for we read of first-rate singers such as Tieze and von
Gymnich taking occasional part. The gatherings con-
tinued until the autumn of 1820, at which time the
place of meeting was in the Bauermarkt, when, having to
find fresh quarters, and seeing no feasible plan by which
the members could be accommodated without paying for a
concert-room, the whole scheme was allowed to fall through.Schubert's extraordinary facility in transferring to paper
the long and imaginative creations of his ^ .,.
brain astonished his friends, whose close
observation merely served to increase their wonder.
Vogl, the singer, attributed the composer's marvellous
and ever-ready command of invention to a state of
clairvoyance, and appears to have regarded other methodsas those of mere mechanical manufacture. His remarks
are worth quoting: "If the subject be that of manu-
facturing, producing, or creating, I don't care, I won't
have anything to do with it, especially since I have learnt,
by my experience of Schubert, that there are two kinds
of composition; one which, as with Schubert, comesforth to the world in a state of clairvoyance or somnambu-
lism, without any freewill on the part of the composer,the forced product of a higher power and inspiration
one may well be astonished and charmed at such a work,but not criticise it
;the other is the reflected." J
1 From a letter of Vogl, dated November 15, 1831, addressed to
A. Stadler.
123
Schubert
Both Schober and Schonstein agreed with Vogl in this
matter. The remarkable success of Beethoven's laborious
methods sufficiently rebuts the idea that the clairvoyance
system (if any such thing existed) was the only one. The
attempt of Schubert's friends to explain the marvellous bythe aid of the supernatural at least serves to show how
great was the impression produced by the musician's
feats of composition. He himself refers to his settings of
Goethe as coming"unsought and uncalled for
; suggested
by truth and actuality, they are grounded and rooted
therein." Speed, of itself, is of no avail in art; yet if a
masterpiece result, and inspiration is discernible in a
work set down with all the ready despatch of a copyist,
one can readily appreciate Vogl's point of view, and be-
come tempted to subscribe to his theory of clairvoyance.
The setting of Matt, von Collin's ballad " Der Zwerg"
is a case in point ; Schubert, pressed by his publisher for" a song written off-hand," literally carried out the sugges-tion. Without preparation, and conversing the while with
Randhartinger, who was waiting to take him for a walk,
Schubert wrote down this long and highly dramatic pieceas if it had been mere child's play. The work bears no
traces of haste;
the accompaniment is of comparatively
simple design, it is true; but, as a whole, the music is a
fine earnest piece of work which would be of credit to
any composer of the immortal group. Another well-
authenticated story tells how the musician, when lying ill
in the Vienna hospital, was yet able to rise above bodilyweakness and produce several of the " Miillerlieder
" and"Der Einsame," (dated 1825). Sudden inspiration bear-
ing remarkable fruits has already been instanced in the
composition of " Hark ! hark, the lark" born in a
124
MS. Corrections
Wahring beer-garden the solo and chorus for Fraulein
Frohlich, or the " Italian Overture"
written in a fit of
bravado, after returning from the theatre. Here is an
anecdote that will please musicians. At the request of a
friend, with whom the composer was intimate during his
stay at Steyr, Schubert employed the melody of" Die
Forelle" l for the theme and variations of the piano-
forte quintet (op. 1 1 4). The movement was done very
hurriedly, and there was no time to write out a score ;so
the string parts were set straight down on paper, and the
composer carried in his head the piano part, which was
only written out after the performance. Mozart had per-formed a similar feat when (at the Burg theatre, Vienna),in I784,
2 Madame Strinasacchi played his new sonata in
B flat (Kochel, 454) from the violin part, while the com-
poser trusted to his memory for pianoforte-accompaniment.Schubert as a general rule did not make many cor-
rections, nor did he believe in alterations and revisions.
Once set down on paper his rule was to, ., A^ro .u i
Revisionsplace the MS. in a drawer, turn the key,and think little more about it. Vogl relates that, having
copied and transposed a certain song of Schubert's
1 Schubert wrote the following letter to Josef Huttenbrenner, Feb.
21, 1818 :" Dearest Friend, I am overjoyed to find that my songs
please you. As a proof of my sincere friendship, I send you herewith
another ("Die Forelle"), which I wrote at midnight for Anselm.
But what mischief! Instead of the box of blotting-sand, I seize the
ink-bottle. I hope, over a glass of punch at Vienna, to become
better acquainted with you. Vale." (Schubert.)2 Mozart afterwards filled in the part for piano, using, by chance,
an ink of a slightly different colour. The MS., which was in the
possession of Mr F. G. Kurtz (of Liverpool), clearly showed the
addition.
"5
Schubert
(the original of which had found its way to the locked
drawer), after an interval of about a fortnight the copywas put before the composer, who, when Vogl sang,exclaimed with some enthusiasm " H'm : pretty goodsong ; pray whose is it ?
" But although much of his work
was done without revision, there is a not inconsiderable
portion which proves the composer could take infinite
pains to improve upon his first draughts. This is well
seen in Breitkopf & Haertel's edition of the songs,which gives all the original copies (obtainable) of each
song. Thus there are four "Erl-kings," each differing
from the other, and the last and originally published copy
proving much the best. Goethe's " Sehnsucht " l was set
six times over. Several of the songs and some of the
same being among the longest are provided with new
endings. A glance at our facsimile of a page from the
score of the symphony in C major2
will show that
1 Beethoven set the same poem four times.
3 " It seems that Schubert's friends used to lecture him a great deal
on the diffuseness and want of consideration which they discovered in
his works, and were continually forcing Beethoven's laborious pro-
cesses of composition down his throat. This often made him angry,
and when repeated evening after evening he would say, so you're
going to set upon me to-day ; go it I beg you. But for all his
annoyance the remonstrances appear to have had some effect, and
after Beethoven's death he asked Schindler to show him the MS.of Fidelia. He took it to the piano and poured over it a long time,
making out the passages as they had been, and comparing them with
what they were ; but it would not do, and at last he broke out and
declared that for such drudgery he could see no reason under anycircumstances ; that he thought the music at first just as good as at
last, and that for his part he had really no time for such corrections."
Grove's Dictionary, iii. 349.
126
Song-writing
Schubert had the courage to alter even a first subject,
after completing a full-score a proceeding which
necessitates a large number of alterations, inasmuch as
the subject in the course of development often reappears.Another instance of revising his work was noted by
Randhartinger, who was present at the first trial of
Schubert's string-quartet in D minor, when the composermade a series of revisions, writing them on the freshly-
copied parts which the players had used. Such instances
might be further multiplied, but enough has been said
to prove that Schubert often made important revisions
in his works.
When Schubert, as a boy of fourteen, began (in 1 8 1 1 )
to compose songs, he was entering into<-,
competition with Zumsteeg, Reichardt, . .
Schulz, Zelter and Himmel. The song-form,*
as it then existed, had no doubt been influenced to someextent by Bach, Mozart and Haydn, but the time was
ripe for an original mind to mould and develop the
capabilities of lyrical expression to a new and higherorder of things. Schubert not unlike an inventor
dealing in mechanics rediscovered for himself much that
had gone before, and reproduced at an early age ballads
of more significance, if not of greater finish, than the best
of Zumsteeg's. A few comparisons will serve to illustrate
these remarks. For this very purpose Messrs Breitkopf& Haertel print three of Zumsteeg's ballads, whichwill be found in the appendix of volume iii. of Schubert's" Lieder." "
Hagars Klage"
as set by Zumsteeg is
long, well-knit, melodious and melancholy; Schubert's
setting of the same words (dated 1811), at times highly
dramatic, breathing a fine atmosphere, often Mozartean,
127
Schubert
is in part quite individual, as for example in the ending.1
Its faults are obvious. The composition halts too often ;
Zumsteeg managed better in that respect. In the secondof the songs quoted in the volume mentioned Schiller's" Die Erwartung
"Zumsteeg is seen in a graceful and
melodious vein. His setting is refined and on the whole
consistent, though it ends in a bizarre manner. It
cannot, however, compare with Schubert's version of
the same ballad (dated 1815), which is fresh, interesting,and full of invention. One can understand Vogl ex-
claiming that the composer squanders his ideas, or
Beethoven's remarking that such a song contains ten
others. A third example will suffice to dismiss the
comparison. Zumsteeg's "Ritter Toggenburg" offers
a string of little movements, somewhat weak in invention,but vocal and pleasing. The composition (which in
this respect foreshadows many of Schubert's) begins in
one key (C) and ends in another (A flat). Schubert's
version (dated 1816) is superior in both melody and
1"Hagars Klage" is the first song in vol. i. of B. & H.'s edition.
The time indications of this one song are as follows :
Largo C minor . . . 3-4
Allegro D minor CLargo . . . B flat . ; . 3-4Geschwind . . C minor CAdagio . . D flat major . . CLargo E CAllegro . . C major CAllegretto . . G major . . . 2-4
Allegro . . G minor . . . 6-8
Andante . . C minor C
Largo F minor . . . 2-4
Adagio . . A flat major . . 3"4
128
German Song-writers
construction, though not otherwise remarkable. Like
Zumsteeg, he is not content with one key ; for after
beginning in F major, the ballad ends in B flat minor.
We need not stay to consider whether Schubert could
have found better models from which to work; there
were many scattered pieces in the German treasury of
song;1 and in England such a work as "From Rosy
Bowers " 2 far superior to anything of Zumsteeg'shad made its appearance more than a century
before.
The song-form of Schulz, Reichardt and Zelter (if not
also of Himmel) was practically identical with the folk-
song. For his shorter pieces Schubert makes free use of
this strophical form, and even in his earliest productionsshows a desire to widen the musical possibilities of so
simple a style, by enriching the pianoforte-accompaniment,or by the introduction of novel modulations, and perhapsabove all by an emotional reproduction of the words,unknown to all his predecessors including the greatmasters.
Zelter's setting of " The King of Thule "(from Goethe's
verses, written in 1774) known to have been the poet's
favourite one appeared in 1812. Schubert set the sameballad four years afterwards. A comparison is interesting,
because it shows as nothing else can the actual steps the
young composer had to take in gaining a lead on the
foremost of his contemporaries.
1 Mozart's "Das Veilchen"
is a favourable specimen of the forty-
one " Lieder" attributed to him, and is further noteworthy as his only
setting of Goethe. Bach, Handel, Haydn and Beethoven all leave
a few specimens of their powers in the writing of " Lieder."2By Purcell.
I 129
Schubert
Stow. SCHUBERT, Op. 5, No. 5.
Es war ein K6 - nisr in Thu le.
Schubert has the advantage in colour and richness
of harmony, while there is more of freshness and variety
in his melody. He wisely groups two stanzas of the
words as one, and thus is enabled to produce a melody of
double the length of Zelter's.
ZELTER,"Lieder-Schatz," Peters, i. 43.
Es war ein K6 -nig in Thu
The older musician has certainly the advantage of a
swinging rhythm if indeed that was wanted ;and there
is a fine manly tone in his air, which is sufficient to
account both for its preservation and Goethe's admiration.
Both the settings are in plain chords with all the straight-
forward character of folk-song. It is tempting to further
compare the exquisite musical conceit of Berlioz (weddedto the same words), in which his perverse genius offers
a feminine version of the rugged old ballad.
A still earlier song of Goethe's " Heidenroslein"
dating from 1773, allows of our placing Reichardt and
Schubert side by side. Reichardt's composition is a
primitive but expressive tune, written in 1793. It is in
most popular German song-collections and a few bars
will serve to identify it.
REICHARDT.
JS__|S_
Sah ein Knab' ein Ros-lein stehn, Roslein auf der Hei - den.
I 3
Schafers Klagelied"
In 1815 the year of the"Erl-king" Schubert was movedto re-set the same verses. This he accomplished with
surprising ease and spontaneity.
Sah etn Knab" ein Ros lein stehn. Roslein auf der Hei den.
Here is the very charm of Mozart, in all its daintiness
and youthful grace. One can quite believe the delicate
strain rose to Schubert's lips as he read over the verses.
It was quite beyond the art of Reichardt;but certainly
Mozart could have matched it.
Another of Goethe's songs the well-known " Schafers
Klagelied" a poem of 1802, has the good fortune to
obtain sympathetic treatment at the hands of all three
composers. Reichardt was first in the field with his
setting of 1809.REICHARDT.
Da dro - ben auf je Ber
This is a grave and well-minted melody, capable, in clever
hands, of considerable expression. The prolonging of
the final bars prove that Reichardt had a soul above the
cut-and-dried lengths which the mere imitators of folk-
song prescribed.Zelter's vigorous little melody came to light in the
following year (1810).ZEI.TER.
dro ben auf je - nem Ber - ge.
Schubert
One cannot but admire the strength of its outline, andthe simple unity attained in this composition of eightbars. It is, of course, directly modelled on the style of
the old folk-song, and it has the advantage of simplicity,
and the disadvantage of monotony. But Franz Schubert
was undeterred by these excellent settings, and in 1814
(when he was eighteen), he cast the poem in another
mould of quite new significance.
Massig, SCHUBERT, Op. 3, No. i.
Da dro ben auf je- nem Ber
He begins with an expressive strain of eight bars (in
C minor), then there is a second portion of some length,
which passes through the keys of E flat, G minor, A flat,
A flat minor, and C flat, the mood always following or
reproducing that of the poem. A part of this material
(bars 11-19) is repeated (at 39-46); and so back to the
original eight-bar phrase of the opening, which is nowextended to twelve bars. The ballad is a decided
advance on the meagre settings of Reichardt and
Zelter.
In 1840, some 300 of Schubert's songs had
reached publication; in 1865 this number had been in-
creased to 360 ;the complete edition of Messrs Breitkopf
& Haertel 1 includes 6032songs at which number (in
all probability) they will remain, in spite of Wurbach's"Biographical Lexicon
"(vol. xxxii. p. 94) making
1 Announced in 1884 and completed in 1897.2 Thirteen of these 603 are fragmentary.
I 3 2
Ballad of "Edward"
mention of 634 poems. Schubert, in his earlier days,was attracted by the sentimental and tender verses of
Holty, Matthisson, Kosegarten, Salis, etc., which were
popular at the time, and were often to be found in the
hands of his school-fellows, who would naturally enough
bring them to his notice. In his later selections, the
composer had the advice and guidance of Mayrhofer and
Schober, and especially of Vogl, who is responsible for a
large number of the verses chosen. Appended is a list of
the poets drawn upon by the musician, showing the
number of poems set, and giving a reference to the
particular volume (in Breitkopf & Haertel's edition)where the settings may be found. A glance at our list
will show that no less than seventy of Goethe's poemsare included. Curiously enough, Zelter eclipsed the
number of settings of verses by this particular poet,
actually accomplishing a round hundred. Schubert com-
posed music for forty-two of Schiller's poems, and forty-
seven by Mayrhofer. English poets will be referred to in
their place ;it is sufficient here to point out that they are
well represented (though in translations); the settings
number thirteen, several ranking with the best work the
composer ever accomplished. The Ossian poems (ninein all), translated by Harold, will also make a special
appeal to those of us who are acquainted with the
originals. Finally it is noteworthy that Herder's transla-
tion of the Old Scottish Ballad " Edward "so fascinated
Schubert, that he set and reset the poem to music a
brief but weird-sounding melody.
'33
Schubert
A LIST showing the authors' names, and the number of
their poems set to music by Schubert. The No. of
each vol. (in B. & H.'s edition) is indicated above
the names. The figures, in line with each name,show how many poems were set.
B. & H.'s edition, Vol.1. II. III. IV. V. VI. VII. VIII. IX. X. Total
Bauernfeld i i
Baumberg 5 5
Bernard ... i i
Bertrand ... 2 2
Brucbmann 5 5
Castelli i i
Claudius 8 3 nCollin 2 2 i ... i 6
Craigher 2 2
Colley Gibber (Trans-lation by Craigher) i i
Dante i i
Deinhardtstein i i 2
Erlich ... i ...
Ermin i i
Fellinger ... 2 i 3
Fouque(DelaMotte) 3 i i 5
Goethe 6 10 20 9 2 9 5 4 ... 5 70
Goldoni i i
Cotter i i
Grillparzer 'i i
Hardenberg (See
"Novalis")Heine 6 6
Poets set by Schubert
B. & H.'s edition, Vol.1. II. III. IV. V. VI. VII. VIII. IX. X. Total
Hell
Schubert
B. & H.'s edition, Vol.1. II. III. IV. V. VI. VII. VIII. IX. X. Total
Pope (Herder)
MSS. of the SongsB. & H.'s edition, Vol.1. II. III. IV. V. VI. VII. VIII. IX. X. Total
Stolberg 2 2 2 6
Stoll 3 3
Sze'che'nyi 2 2
Uhland i i
Uz 4 4
Werner
Zettler ... i i
Anonymous i i 4 5 5 i ... 6 23
Total 603
Some interesting notes are furnished by Herr Mandy-czewski, who edits the ten volumes of songs in the
edition of Breitkopf & Haertel. Four hundred andfifteen autographs were referred to in the course of
publication. These MSS. were for the most part
beautifully written. Schubert like Zumsteeg wrote
his directions for performance in German. His marks of
expression were confined to the pianoforte part, the singer
having the poet's text to guide him. Musicians will note
with interest that the first published copies of the songswere not uncommonly transpositions from difficult to
easy keys. All such departures from the composer's
original intention may easily be detected by referring to
the edition under notice. The progress of the composerin song-writing may be traced in regular steps, for the
volumes give the various pieces in the order of their com-
position.1 Thus the years 1811-1814 are covered by
volume i., which contains the first thirty-eight songs,
beginning with "Hagars Klage," and further including
1 The plan of Nottebohn's Thematic Catalogue is thus followed.
137
Schubert
the "Corpse-fantasia
"Schiller's poem set for tenor
and pianoforte. The great song-year was, of course,
1815, which brought forth 146 songs, groups of which
were sometimes written down and composed during the
same day. It is a cynical reflection that Schubert might
easily have earned a better living as a copyist, owing to
the extreme rapidity of his pen." Schubert" (says Dr Hugo
Riemann)" was the real creator of the modern " Lied "
;
his importance in the history of music, is analogous to
that of Goethe as lyricist in the history of poetry."Liszt did not hesitate to pronounce him "
le musicien le
plus poete qui fut jamais" the most poetical musician
that ever was. " He ought to have been alive now (says
Schumann)"to know how he is praised ;
now when he
has long been at rest, let us carefully collect, and heed-
fully examine, what he has left us. Few authors have
impressed the seal of individuality so clearly on their
works as he has done on his."
Accounts differ as to the original production of the
,, E. 7
"Erl-king," and the honour of its first per-
,. formance is severally claimed. Spaun saysSchubert himself sang it. But I will give
the story as it stands in Kreissle : Schubert wrote this
song one afternoon (late in December 1815) in his roomat his father's house in the Himmelpfortgrund, where Spauncalled, and found him hard at work. He had twice read
the poem of the "Erl-king
"in a state bordering on frenzy.
As the splendour of the ballad awoke his imagination, he
was dashing the music down on paper, in the form of a
sketch, which needed little but mechanical detail to
render it a finished production. In the evening of the
same day the song was brought to the Convict, where
138
Startling Discord
Schubert first (and after him Holzapfel) sang it to anaudience of friends and pupils. The audience made wryfaces and smiled incredulously at the passage,
" Mein
Vater, jetzt fasst er mich an." Ruczizka the teacher of
ter, mein Va - ter.
IE
theory and composition thereupon undertook to explainthe mystery of the discords, which are now reckoned so
harmless in our music. Vogl soon after this becameintimate with Schubert, and he immediately monopolisedthis song, which served so well to display his extra-
ordinary powers. He sang it commonly in private society,
and in 1821 produced it for the first time in publicat the Royal opera-house.
" In Schubert's Biography," says Mr Albert B. Bach
("The Art-ballad," p. 107), "the court opera-singer Voglis always mentioned as having been the first to sing the'
Erl-king'
in public. Randhartinger, however, told methe following facts :
'I was still at school at the
" Stadtconvikt"
of Vienna, when one day Schubert,who was quite excited, brought me the MS. of the
"Erl-king" and asked me, then a boy of fourteen, to sing
139
Schubert
it. Like lightning the news flashed through the institution
that Franzl (so they called Schubert) was there and had
brought a new composition. In a trice the concert-
room of the institution was filled with the students and
teachers, and Randhartinger was chosen to sing for the
first time Schubert's grand composition, accompanied bythe young composer himself. The beautiful playing of
Schubert, and the spirited singing of Randhartinger,
inspired the whole audience, and the "Erl-king
" had to
be repeated. Schubert, who was very modest, said," Bene-
dictus, the song pleases me too, if only it were not so verydifficult to play." The second time Schubert omitted the
triplets and replacedthem by quavers. Some of the teachers
asked him why he omitted the triplets. Schubert replied,"They are too difficult for me; a virtuoso may play them."
The second time Randhartinger sang with more expressionand animation, and there followed quite a storm of ap-
plause." Of all good things there are three," shouted the
students, and poor Schubert and Randhartinger had to
perform the"Erl-king
"for the third time."
Schubert was rewarded with gifts of MS. music-paper,while Randhartinger received no less than the original MS.of the "
Erl-king." Randhartinger gave the autograph of
this splendid composition to Madame Schumann, whosehusband had so timely gone to the rescue of Schubert's
unpublished works especially the great Symphony in C,which he brought to Mendelssohn's notice, and therebysecured its initial performance.
It may be not uninteresting to observe that in ancient
German mythology the"Erl-king
"has no place. Moreover,
the very name is mistakenly derived. Herder first intro-
duced it in his "Stimmen der Volker"(1778), where it is
140
English Songs
used in a rendering of the"Elf-king's Daughter," out of
the Danish. It is pointed out that"Elbkonig," or
"Elbenkonig," would have been a true German equivalent.
In modern literature the Erl-king is represented as a
gigantic bearded man, with a golden crown and trailing
garments, who carries off children to that remote andundiscovered country which he inhabits. Loewe, in aninterview with Goethe, remarked that he considered the"Erl-king
"to be the best of German ballads for this
reason, that the characters represented in it were all
introduced in dialogue." There you are right," said the
poet. The earliest composer to set Goethe's ballad to
music was Reichardt (1752-1814), whom Schubert is
known to have thought well of, and admired of Mendels-
sohn. It has been since treated by no fewer than thirty-
eight composers, Schubert and Loewe being included in
that number. The best known translations are those
of Lewis and Sir Walter Scott.
Schubert's MS. of the "Erl-king," preserved in the
Berlin Library, was reproduced in facsimile by Espagne,and published by Miiller of Berlin, of which we give a
specimen. Another autograph score has been alreadyalluded-to as in the possession of Madame Schumann.
Englishmen cannot but view with especial pride andsatisfaction those of Schubert's songs which ,., ,. ,
were called into being through the actual
agency of their own poets. A medium was
employed, it is true, for Schubert knew nothing of the
English tongue. He nevertheless hoped the songs wouldreach this country. To this end, we find him writing
(in a letter to his parents, under date July 25, 1825,from Linz), apropos of some settings of Scott's songs :
141
Schubert
"I intend to have some other arrangement as to the
publication of these songs, the present one inviting so
little attention. They must have the illustrious name of
Scott on the title-page, and thus make people morecurious
;with the addition of the English text they might
help to make me better known in England, if only once
I could make some fair terms with publishers ;but in
that matter the wise and beneficent management of the
Government has taken care that the artist shall remain
for ever the slave of miserable hucksters." Wonderfulto relate, the sale of the seven songs from Scott's
"Lady
of the Lake " was one of the best bargains the composerever struck. They were sold on October 29 (1825) to
Artaria for the sum of 200 silver Gulden, or 20 sterling,
an unusually generous amount compared with most of the
composer's transactions. 1
Schubert's wish that the "illustrious name of Scott"
should appear in the title was duly observed. TheGerman text which he had used was that of PhilipAdam Storck, printed at Essen, 1819 nine years after
the appearance of the original poems in Edinburgh.Most unfortunately, Storck's verse and Scott's by nomeans agree, for whereas the one employs some dozen
syllables to the line, the other (the original) has but eight.
The result may be imagined. No amount of arranging,
though it was attempted, could reconcile the two versions.
Six of the pieces, nevertheless, gave both texts. Theywere issued as opus 52 (on April 5, 1826), with the title
"Sieben Gesange aus Walter Scotts Fraulein vom See,"
etc.
1 See the account of the sale of six of the "Winterreise," which
Haslinger bought for tenpence a-piece (p. 149).
142
Scott
1. "Soldier rest" (Ellen's first song),"Lady of the
Lake," canto i. stanza 31.
2." Huntsman rest
"(Ellen's second song),
"Lady of
the Lake," canto i. stanza 32.
3. "Hail to the chief" (set for T.T.B.B.), "Lady of
the Lake," canto ii. stanza 19.
4." He is gone on the mountain "
(Coronach) (set for
S.S.A.),"Lady of the Lake," canto iii. stanza 16.
5." The heath this night must be my bed
"(Norman's
song),"Lady of the Lake," canto iii. stanza 23.
6. "Ave Maria,"1
"Lady of the Lake," canto iii.
stanza 29.
7." My hawk is tired of perch and hood "
(lay of the
imprisoned huntsman),"Lady of the Lake,"
canto vi. 24.
Schubert set three more German versions of Scott's
poems as follows : Annot Lyle's song from the "Legend
of Montrose" Op. 85, No. i. This was written in 1827and appears as "Lied der Anne Lyle "(" Warst du bei mir imLebenstal "). The second song is included in the same opus
number, and dates from the same year. This is Norna's
song," For leagues along the watery way
" "Gesang der
Norna" (" Micht fiihrt mein Weg"), which is drawn from
"The Pirate." Third and last is "The Crusader's
Return," from "Ivanhoe" "Romanzedes Richard Lowen-herz" ("Grosser Taten tat der Ritter"). The last songwas printed in March 1828, as opus 86, the MS., however,
being dated two years earlier.
The story of the origin of "Hark, hark, the lark" has1Exception should be made of the " Ave Maria," the music of
which can be used (in a slightly adapted form) in conjunction with
Scott's verse. The adaptation is made in Augener's edition.
143
Schubert
already been told. It is understood that the two other of
Shakespeare's songs set by Schubert followed in the course
of the same evening ;and certainly Schubert's habit of
composing music to several songs by the same writer, at
one sitting, seems to favour the probability of its accuracy;while the inscription Wahring, July 182 6 which appearson the songs, forms another link in the chain of evidence.
The remaining songs are :
" Who is Sylvia" (Op. 1 06, No. 4)from " The Two Gentlemen of Verona," or, as it appears in
Bauernfeld's version, "Gesangan Sylvia"("Was ist Sylvia");and the " Trinklied
"(" Bacchus, feister Fiirst "), or, as we
know it in the play of "Anthony and Cleopatra,"
" Comethou monarch of the vine." The translation of this last
song is by Ferdinand Mayrhofer, and that of "Hark,
hark " Standchen (" Horch, horch, die Lerch' ") above-
mentioned, by A. W. Schlegel. It is a fortunate circum-
stance that, whether by chance or design for there was
time to profit by the experience of the Scott songsGerman and English words agree in this group of
Shakespeare's lyrics, which therefore can be sung in
Shakespeare's own words.
A few other English songs which had found their wayinto German passed through Schubert's hands, and, almost
by virtue of the touch, became music. Thus ColleyGibber's
" Blind Boy"(" O say what is that thing call'd
light ") which is included in Palgrave's" Golden
Treasury" was translated by Craigher (author of " Die
junge Nonne ") and became transformed to" Der blinde
Knabe "("O sagt, ihr Lieben, mir einmal"), appearing with
music as op. 101, under date 1825. There is an allusion
to this song in 1827, when, during the visit of Hiller andHummel to Vienna, Vogl and Schubert performed it before
144
Hummel Extemporises
the two visitors. Hummel then, as a token of approval,took the theme of the song, and, to Schubert's great
delight, gave a pianoforte extemporisation founded upon it.
A song by Pope, done into German by Herder, namely
"Verklarung" ("Lebensfunke vom Himmel entgliiht"),
had quite early attracted Schubert's attention, indeed while
he was yet a pupil of the Convict, as is seen from the date
of the MS., May 4, 1813. This is none other than the
well-known "Vital spark of heavenly flame." There are
probably a few further English poems found in translation
among the 603 published songs of Schubert ;the above,
however, are the best known. The sanguinary ballad of" Edward 5J1 from Percy's "Reliques" another of Herder's
German paraphrases was also set by Schubert under the
title" Altschottische Ballade" ("Dein Schwert wie ist's vom
Blut"),op. 165, No. 5, the composition of which is assignedto November 1827. Brahms, it will be remembered, took
the same poem for the "programme
"of his Ballade in D
minor, for pianoforte, op. 10.
If our native poets have been somewhat unfortunate in
the treatment of translators, the original German poemsrendered into English have met with scarcely better
fortune. Of the seventy poems by Goethe which Schubert
set to music, but few have attracted the attention of
English poets able to render a truly singable version. I
have no intention of casting any slight on the existingtranslations which English music-publishers have provided.These are not under consideration. Only the poets'
1 It begins,"Quhy dois zour brand sae drop wi' bluid,
Edward, Edward?"
[No. 5 of Percy's"Reliques," 1765.]
K 145
Schubert
versions of the poets are now in view. Sir Walter Scott's
translation of Goethe's "Erl-king
"is a good example of
what is meant. Although this spirited rendering is widely
used, several alterations in the number of syllables are
rendered necessary by the poet's not adhering strictly to
Goethe's verse. Passing to Carlyle's rendering (in English
verse) of the songs from "Wilhelm Meister" (Goethe),
these, however much one may wish it, are not singablewithout serious modifications. It is the more to be
regretted, as the metre is practically the same, and a mere
knowledge of the music was all that was necessary to makea perfectly harmonious translation. It is with some
pleasure that we find Coleridge able to meet all the re-
quirements of poetry and music in the little song of
Schiller, everywhere known I refer to " Das Madchen's
Klage"
(" Der Eichwald brauset "), which is not, as far as
the writer is aware, given in any of the music-books, and
is therefore quoted here :
" The cloud doth gather, the greenwood roar,
The damsel paces along the shore ;
The billows they tumble with might, with might,
And she flings out her voice to the darksome night :
Her bosom is swelling with sorrow.
" The world it is empty, the heart it will die,
There's nothing to wish for beneath the sky,
Thou Holy One call thy child away,I've liv'd and lov'd and that was to-day,
Make ready my grave-clothes to-morrow."
But alas, Coleridge stops after two stanzas, and the
original song has four. 1
1 Mrs Hemans has left an excellent version of Mignon's song," Kennst du das Land?" which is eminently singable, and therefore
I46
Songs composed at Night
Randhartinger has related how the group of songsentitled
" Die schone Miillerin" came to attract Schubert's
attention. On an occasion when Schubert called at his
house in the Herrengasse presumably in October 1823he discovered lying on the table a collection of poemsby W. Miiller, for which Randhartinger himself had
intended to compose some music. Schubert quietly
pocketed the little volume, and returning home at five
o'clock in the evening, set to work at once on several
of the pieces. Randhartinger tells how he was surprisedat seeing the book of poems at Schubert's lodgings,
where he called the following forenoon. " Do not be
angry with me, dear Benedictus" (said Franz), "the
poems have so inspired me that I had to compose music
to them, and I scarcely slept two hours last night ;and
now you see the result. I have already seven poemsset to music. I hope you will like my songs ;
will you
try them ?"
Randhartinger duly tried them and was
naturally delighted. "I will never touch the book
again"(said he) ;
"keep it, as, after Schubert, Benedictus
has no right to compose." The same week, it is said,
saw the whole series of twenty songs completed.1
We may now refer to the music. The period (1823)was one in which the composer's attention was con-
centrated chiefly upon opera. It would doubtless be a
deserves to find a place in association with Schubert's music in the
English editions.
1 It is but right to add that another account says :" The task of
writing the set of twenty songs occupied our master at intervals
during the summer, and helped to while away the time he spent as
a patient in a hospital"
(see p. 124).
H7
Schubert
relief to turn to lyrical composition for a time. The tone
of the pieces is for the most part idyllic. It is the
exception to meet with the fiery impatience so wonder-
fully reproduced in "Ungeduld," or the untrammelled
freedom displayed in the setting (No. 17) of "Die bose
Farbe." A gem of purest ray is the "Morgengriiss
"
and no less superb in their intimacy are the " Trock'ne
Blumen" l and " Des Baches Wiegenlied"
(Nos. 18 and
20). It may seem invidious to single out these
particular numbers; they, however, are the most striking
in a series which cannot boast of equal merit. Others
in the collection which seem to follow in point of
excellence are numbers 1 1 and 1 2" Mein "
and" Pause." 2 It appears that Schubert omitted three
numbers from the collection of poems, in addition to
the prologue and epilogue, with which Miiller hadfurnished his collection. In their complete form they
may be found in the first volume of " Gedichte aus den
hinterlassenen Papieren eines reisenden Waldhornisten "
(" Poems found among the papers of a travelling French-
horn player "), first published at Dessau, in 1821. Liszt
transcribed six of the above settings for pianoforte.
Another famous group of songs is that known by the
title "Die Winterreise," written in 1827, a year which,
according to Kreissle, "may be reckoned among the
happiest periods of Schubert's life and progress. Inspired
1 A set of Variations for Flute and Pianoforte (op. 160) employ, as
their theme, the air of "Trock'ne Blumen." They are dated
January 1824.2 Messrs Novello issue the above series with an English translation
by Natalia Macfarren. The Augener edition gives another English
translation, with a German original printed beneath.
148
Tenpenny Songs
with a lofty consciousness of his mission as a great art-
creator, he put forth more exalted efforts, as we gatherfrom the larger works of this date, and he experiencedfor the last time the happiness of a free, unfettered
enjoyment of nature's beauties and the attraction of
simple friendly companions, who met him half-way with
entire abandonment of ceremony and conventional
restraints." Kreissle apparently alludes to the visit
Schubert had made in September, in the company of
his friend Jenger, to the Pachlers of Gratz. In acknow-
ledging the kindness of this family, Schubert's letter to
Herr Pachler says pretty much the same thing. Hespecially mentions the freedom from restraint that he
enjoyed, and finally observes that "these were the
happiest days I have passed for a long time." He had
already set the first half of the " Winterreise"
songs in
the month of February. After the visit to Gratz he set
about the remaining twelve, which were completed in
October. Franz Lachner, who was a close friend of
Schubert's during the last six years of his life, has left
on record some interesting facts relating to this series
of songs. "Half a dozen of them," says he, "were
written in one morning." He does not specify which
half-dozen, nor would it profit anyone to know. Lachner
states that he took apparently at Schubert's request
six of these very songs to Haslinger the publisher, who
bought them for six Vienna Gulden, or as money then
ranked, for a sum total of five shillings. We need not
pause to comment on the incredible meanness of the
transaction, which will pursue the name of that publisheras long as the incident survives record in itself sufficient
punishment, for if the songs were worth printing at all,
149
Schubert
they were worth a proper remuneration. The date is
not vouchsafed, but the incident in all probability refers
to the early summer of 1828, when Schubert proposed to
himself another trip to his friends at Gratz."It is all
over with Gratz," writes he, "for money and weather
are both against me." The first part of the " Winterreise"
had been published by Haslinger in January of this year
(1828). The second half was only in proof at the
time of Schubert's death. It is said to have been oneof his last occupations correcting and revising their
publication.A note of deep melancholy for the most part dominates
the music of these pieces, of which the majority are in
the minor key, and, in accord with the poetry, deal with
sad ideas, if not depression and pessimism. There are
several notable exceptions, however, among which No. i
is prominent. The air here is of a finely passionate
character, and a beautiful effect is produced by the last
stanza being given in its major form. There is nothingbetter in the whole series than this
" Gute Nacht."
Another splendidly poetic utterance is the fifth piece," Der Lindenbaum." It is curiously confirmative of their
melancholy mood, to find in this series of songs such a
piece as"Friihlingstraum
"strongly tinged with dejection.
This, however, was imparted to it by Miiller l the poet, so
Schubert was bound to follow where he led." Die Post "
(No. 13) is more robust, and is comparatively remarkablycheerful, though it is none of the poet's contriving that so
it turns out; but the bustle and excitement which the
1 Muller's poems, the order of which is completely altered in the
musical setting, first appeared in a second volume published at Dessau,
1824. The title is given in the note on " Die scho'ne Miillerin," p. 148.
Der Leiermann
post called up in the mind of the musician overruled the
blank dismay and bitter disappointment which the non-
arrival of a letter from the loved one was calculated to
produce. "Im Dorfe" is a finely-coloured piece of
writing which never fails of effect, if skilfully rendered.
One can hear the bark of the watch-dogs and the faint
sounds of the sleeping village, and yet enter into the
mood of the watcher as he speculates on "Sleep that
knits up the ravell'd sleeve of care"; the outburst of
music in the final verse suddenly inspires the song with
intense poetry, as if the midnight hymn of some distant
monastery fell upon the ear of the listener. A solemn
little song is No. 21 "Das Wirthshaus" the words of
which read strangely when one remembers they were
corrected during Schubert's last days, as he lay in his
chamber, weak and ill :
" Auf einen Todtenaker hat mich mein Weggebracht,Allhier will ich einkehren, hab' ich bei mir gedacht."
Last of all comes the half playful, half plaintive, "DerLeiermann," which is a wonderfully effective picture of
the street-minstrel as he exists in the Land of Poetry.The fourteen songs forming the "
Schwanengesang"are
always thus grouped together in a series, but there is
nothing to show that the composer intended their associa-
tion;and as for the title, it was given by Haslinger the
publisher. Schubert had not intended to compose anymore songs, for in offering his C-major Symphony to
the Vienna Musik-Verein he stated (according to
Kreissle) that he desired to write no more songs," now
that he was firmly planted in opera and symphony." In
August (1828 his last year) he changed his mind.
Schubert
Schindler's efforts to introduce his music to Beethoven
late, almost too late, as these were had wrought a deepimpression on him, and we find him visiting Schindler
and looking over the Beethoven papers, etc., in Schindler's
possession. Among these was a bundle of anonymouslyrics some twenty which Beethoven had intended
to set to music. Naturally these attracted Schubert's
attention, and he carried some of them home, return-
ing two days later with three of the poems clothed
with song. They are now known to be by Rellstab, andthe music appears in Nos. i, 3 and 5 of the " Schwanen-
gesang" three of the best songs in the collection.
Rellstab is the author of the first seven of the " Schwanen-
gesang," Heine of the next six (Nos. 8-13), and the last is
written by Seidl. The six pieces of Heine are the onlyones for which Schubert composed music, and the poemof Seidl was the last piece Schubert wrote. It is dated
October 1828. Schubert died the following month, andthe fourteen songs of the "
Schwanengesang"
series
appeared in May 1829. Liszt transcribed the whole
series for pianoforte-solo.The last works of a man of genius always lay claim to
an exceptional amount of attention, though they are not
of necessity the things he will be remembered by. In so
short a life as that of Schubert, the shadow of death
falling preternaturally soon, the powers of his mind and
imagination were at their very best, if we may judge
by the compositions of this final year among them the"Schwanengesang
" a veritable swan-song, although the
title was of Haslinger's bestowal. One can then approachthese pieces without any misgiving that human sympathyis awakened rather than a real admiration. All the songs
152
Schwanengesang
are masterpieces, though some are more pregnant with
significance than others. A charming Idyl, entitled"Liebesbotschaft," is placed first. This is distinctly
a chamber-song, delicate and restrained in its effects, and
of true poetic conception. A widely different impressionis created by the second song,
"Kriegers Ahnung," a
fine dramatic portrayal of the soldier's dream on the eve
of battle. Fame has long ere this set her seal to the
fourth piece,"Standchen," which is as widely known and
loved as any serenade in the world. Why this should be
so, it is not easy to tell. Certainly the conception is
remarkably new;but then the air is for the most part in
the minor ; it is difficult of performance, and the poem is
by no means an inspiration. It speaks well for populartaste that a composition so beautiful and original should be
everywhere admired. "Aufenthalt" (No. 5) is a granddramatic piece of a class which Schubert himself invented.
Its strongly impassioned melody is supported by an
accompaniment which literally throbs with suppressedexcitement. Another feature of interest is the rhythm,which carries all before it in its powerful sway. It will
scarcely escape notice that the fine opening phrase of the
accompaniment is afterwards (in the final line) transferred
to the voice. "Abschied" (the seventh and last of
Rellstab's poems) is set in a remarkably bright and joyousvein. It is the "
good-bye"
of one who reflects on the
happy hours, the smiling faces, and the good generally,
the splendid memory of which cannot be taken from him.
We now come to the six poems of Heine (Nos. 8-13), the
best of which is No. 12, "Am Meer," set to a finely
emotional melody, simple, but full of feeling and colour.
Seidl's" Die Taubenpost
" comes last. This is under-
'53
Schubert
stood to be Schubert's final effort. It breathes of content-
ment, and even of happiness :
" Sie wird nicht miid, sie wird nicht matt,
Der Weg ist stets ihr neu."
A feature of striking beauty is seen in the accompani-ment throughout forming an eloquent commentary on
the text of the melody. The sable king of fears certainly
had no part or lot in the framing of this picture the last
of its composer's earthly scenes.
Before quitting the subject, attention may be usefully
drawn to some remarkable features in the songs reviewed.
Un poco animate
VOICE
P. F.
-\) -+- >-H g H-J zl*
die gan ze Welt der Schmerzen muss ich tra - gen.
,A ,g.ig? r=ngz=rt:r^=i
t t:EtL=.y pfe
Here, for example, is a remarkable cadence, the effect
of which is as a bitter cry. Perhaps the composer knew
only too well what the burden of sorrow meant, and hence
his sympathy with the fabled Atlas. There is a veryunusual ending to the song
" Die Stadt" (No. 1 1). Theseare the two last bars :
154
A Bach Phrase
Moderate.
pp Dim.
-.
g ^ =Jr^ 1;
I/ I/
If Ruczizka x had been put to it for an explanation of
such an ending say before the pupils of the Convict
he would probably have pointed out that the final Cresolves the preceding diminished chord, as it indeed
does both theoretically and harmonically ; though the
ear nevertheless retains the sound of that diminished
chord. In No. 13," Der Doppelganger," it is of interest to
note the leading phrase of the accompaniment, remindingone of Bach's theme in the well-known Fugue in C sharp
minor, No. 4 of the forty-eight.
Sehr langsam.
Schubert employs the same phrase in the Agnus Dei
1 Ruczizka had to explain a harmonic combination in the "Eri-king."
155
Schubert
of the Mass in E flat, and again in the opening of the
Allegro of the Overture to Fierrabras." The theatrical atmosphere
"(says Kreissle)
"is of so
~ peculiar a kind, that many a poor weed maythrive therein while the healthy flower fades
and dies." Schubert's strenuous attempts to establish
himself in opera proved a dire failure. While barelysixteen years of age he had been drawn to dramatic
composition, and in his eighteenth year alone there
followed no less than six operatic pieces. The total of
eighteen dramatic works was finally reached before the
composer's short career was closed. Ten of these are
now published, in more or less complete form, together with
a supplement of four fragmentary pieces. Performances
of six of these have taken place at long intervals. Die
Zwillingsbrjider (a Singspiel in one act) was performed at
the Karnthnerthor theatre, Vienna, June 14, 1820; andon August 1 9 of the same year, the three-act melodramaDie Zauberharfe was given at the theatre "
an-der-Wien,"where (in 1823) the four-act drama of Rosamunde also
obtained a hearing. No other dramatic work of Schubert
was produced in his life-time. A few posthumousperformances may be added, such as the productionunder Liszt's direction of Alfonso und Estrella (with onlysmall success), at Weimar, in 1855. The Vienna
Musik-Verein gave a concert performance of Der hausliche
Krieg (known also as Die Verschworenen) in 1861, a
production which was afterwards imitated at Frankfort-on-
Maine, where the work had the additional advantages of
stage-representation. To this list which is not intended
to be complete may be added a performance of Die
Vierjahrige Posten, an operetta brought to light in 1897,
156
Why his Operas failed
at the commemoration in Vienna of the composer'sbirth.
There is little or no difficulty in assigning reasons for
Schubert's failure in dramatic enterprises. The time
was not ripe, and the city did not favour German opera.Where Beethoven barely succeeded, Schubert could
scarcely hope to win his way. The pleasure-lovingViennese preferred the honeyed strains of Rossini. EvenWeber exercised more obvious charms with his romantic
creations. Then the influence of important personswithout which no opera-stage is ever at the composer'scommand was decidedly lacking in Schubert's case,
Vogl being his chief ally.
When a composer's opera fails, the librettist may look
for the blame. With one notable exception,1 Schubert's
librettists are far above the average, so that the commonexcuse for failure will not serve. Goethe is responsiblefor the book of the three-act opera Claudine von Villabella ;
Korner wrote the libretto of Die Vierjahrige Posten; and
Mayrhofer a tragic poet of note, and the close personalfriend of the composer supplied the story of Die beidcn
Freunde von Salamanka (an operetta) and the play of
Adrast. So completely were most of these pieces for-
gotten that when Liszt, in 1847, enquired of Schober
for an opera by Schubert, the reply came that Alfonso und
Estrella, which Schober had himself compiled, was the
only finished opera. As we have already stated, there
were six operas available. It is almost pathetic to find that
Schubert, undeterred by the total neglect of his dramatic
endeavors, was, at the time of his last illness, meditatinga new opera in conjunction with Bauernfeld. This work
1 Helmina von Chezy's Rosamundt.
157
Schubert
bore the title Der Graf von Gleichen, and, according to
the librettist, an instrumental sketch by Schubert was in
existence. Of this (says Kreissle)"
I have not succeeded
in finding any traces." There are two operas of this
name by other composers, but of Schubert's music, if anywas ever conceived, nothing now remains.
" The latest news in Vienna"(wrote Schubert on March
31, 1824) "is that Beethoven intends giving a concert,
when we are to have his new symphony, three numbersout of the new Mass and a new overture. God will-
ing, I intend also to give a similar concert next year."
Beethoven's concert came off on May 7, and the sym-
phony referred to (the Ninth), was duly given, togetherwith portions of the Mass in D, and the Overture (op.
124). It is doubtful if Schubert attended this concert,
as he makes no reference to it; moreover, early in May,
he accompanied the Esterhazys to their Hungarian retreat.
The intention with regard to a concert of his own was
carried into effect four years later. This took place in
the Hall of the Musik-Verein, on March 26, 1828. It
was the only concert that Schubert ever undertook, and
although its success encouraged him to promise himself
further undertakings of the kind, his early death preventedtheir fulfilment. The programme was as follows :
1. First movement of a new String Quartet Schubert.
Performed by Messrs Bohm, Holz, Weiss andLinke.
2. Four Songs ..... Schubert.
(a) The Crusade.
() The Stars.
158
His only Concert
(<:)The Wanderer to the Moon.
(d) Fragment from ^Eschylus.
Sung by Herr Vogl, retired imperial opera-singer,with accompaniment for pianoforte.
3. Serenade (words by Grillparzer) . . Schubert.
Soprano solo and chorus, performed by Mdlle.
Josephine Frohlich and pupils of the Con-
servatoire.
4. New Trio for pianoforte, violin and 'cello Schubert.
Performed by Messrs Boklet, Bohm and Linke.
5. On the Stream (words by Rellstab) . Schubert.
Song with accompaniment for horn and pianoforte,
performed by Messrs Tieze and Lewy, junior.
6. Omnipotence (words by Ladislaus Pyrker) Schubert.
Song with pianoforte accompaniment. Herr Vogl.
7. Battle Song (words by Klopstock) . Schubert.
Double chorus for male voices.
ENTRANCE, 3 florins Viennese.
The concert-room was crowded to overflowing, and a
brilliant success secured for the performances. Anotherwelcome result was the balance of gain, amounting to
800 Vienna Gulden, or about ^32. The new quartet was
probably op. 163, published (in parts) during the year bySpina; and the trio would be either op. 99 or 100. The
song with horn obbligato is a very beautiful piece whichdeserves to be better known. (See B. & H.'s edition,
vol. x. p. 2.) It is dated March 1828, so was possiblywritten for the concert.
159
Schubert
" The best sort of music "(says Coleridge)
"is what it
should be sacred ; the next best, the military, has fallen
to the lot of the devil. Good music never tires me nor
sends me to sleep. I feel physically refreshed and
strengthened by it, as Milton says he did." 1
The sacred music of Schubert has many great qualities
~ , which not only make it worthy of the services
^ . of the Church for which it was primarily
intended, but also entitle it to rank with the
great works of Bach, Handel and Beethoven. Schubert's
debut, as a Church composer, was on the occasion of the
production of his Mass in F at the Lichtenthal parishchurch in 1814. The encouragement he then received
at the hands of the choir-master Michael Holzer (hisfirst teacher) found recognition in the dedication which
the young composer made to his former master in the
Mass in C. The latter was evidently a favourite work,and though written in 1816, a new number (the Bene-
dictus) was added as late as 1828. It is curious to note
that of the six published Masses, none found their way to
the Chapel Royal, Vienna, during the composer's life-time.
The neglect is thus explained by Dr Hauer :
" Sometime in the year 1827, I was sitting, after an evening's
music, with Schubert at the ' Zum Rebhuhn '
coffee-house,
sipping (confidentially) a cheerful glass of 'Schwarzen,'when my friend said to me
;
' Not long since I brought
Hofcapellmeister Eybler a Mass, to be performed bythe Imperial choir. On hearing my name, Eybler declared
he had never heard a composition of mine of any kind.
I certainly am not an over-conceited man, but should
have thought that the Hofcapellmeister of Vienna must1 "
Table-talk," July 6, 1833.
160
Secret Composition
have already heard something of mine. A few weeksafterwards I came again to enquire after the fate of mybantling, when Eybler said the Mass was good, but not
composed in the style the Emperor liked. So I took myleave, thinking to myself, I am not fortunate enough,
then, to be able to write in the imperial style.'"
Beethoven's Masses also failed to attain the imperial
standard, which seems to have required a contrapuntal
pattern in choral writing such as the Reutter Masseswhich contain short and easy fugal movements.
The profoundest secrecy seems to have attended the
composition of Schubert's one oratorio *
Lazarus of which (unfortunately) only -. . .
, . A. . , , v ' Oratorioa fragment remains. Neither Schober nor
any other of the close personal friends of the composerknew anything about this important work, which was
designed as an Easter cantata, and bears the date February1820. This is the more remarkable, as Schubert, at the
period of its composition, was living with Mayrhofer, in
the Wipplingerstrasse. Kreissle, who assisted in un-
earthing the second part of the MS. in 1861, described
the work as "one of Schubert's most significant andcharacteristic musical poems of a religious kind." Thefirst performance took place, March 27, 1863, in
Vienna.
Schubert was put to many shifts for his writing-materials.At the Convict, Spaun and others found him in music-
paper; at Wahring we have seen him composing ona bill of fare
; our story now discovers him writing music
in chalk. His brother Ferdinand was appointed (in 1820)to the office of Regius Chori in the church of Altlerchen-
felder, where music had fallen into sad disorder. Some
L 161
Schubert
new pieces were wanted for performance on the comingEaster Day already close at hand. In this dilemma, he
applied to his brother Franz good at need who forth-
with composed the Antiphons (op. 1 1 3), and finding his
stock of MS. music-paper exhausted, the compositionswhich are for four voices were set down in black chalk,
on coarse, grey wrapping-paper.The setting of the Twenty-third Psalm, though not
strictly speaking a Church composition (as the pianoforte
accompaniment shows), is nevertheless a highly de-
votional work. Like so many of Schubert's most success-
ful pieces, it was called forth for an especial occasion,
being written for the sisters Frohlich. The MS.,which bears the date Dec. 1820, contains parts for
two trebles and two altos, with the accompaniment as
stated. 1
The Song of Miriam (words by Grillparzer) was
set as a cantata for solo, chorus and pianoforte per-
formed, as we have already seen, at Schubert's concert,
in March 1828. It was completed shortly before that
date. Franz Lachner afterwards arranged the accompani-ment for orchestra, and in the latter form it is now well
known.It was fitting that some part of Schubert's last year
should be devoted to the composition of sacred music.
We have now to describe his masterpiece in this de-
partment. The Mass in E flat will rank with the finest
compositions of its class. Its place lies between the
Mass C major of Beethoven and that same master's
stupendous Mass in D. A deeply inspired tone pervadesthe Schubert work, which is beautifully scored for voices
1^.facsimile page is given in the Musical Times of Sept. 1901.
162
Mass in E flat
and orchestra. Unconventionality reigns throughout.Thus in the opening Kyrie, the second portion from the
words " Christe Eleison"
is begun forte, with the voices
high in their register, and proceeding (crescendo) to
fortissimo effects. The movement ends as it commencedwith subdued low chords. The Gloria is a strong
rhythmical piece of writing, leading to a contrasted section
at the words "Domine Deus, Agnus Dei," which is
sung somewhat slower. The quicker movement returns
at "Quoniam tu solus
" and proceeds to a fully developed
fugue Cum Sancto Spiritu the general effect of which
is very powerful. It would have been interesting to
have had Sechter's opinion on this particular part of the
work. (See p. 74.) The Credo opens in a subdued
manner, and becomes finely expressive at the " Incarnatus
est" and strongly dramatic in the "
Crucifixus." Another
fugue is developed on the words " Et vitam venturi."
The counterpoint is not exactly that of the schools, but
it is anything but weak, as it has been so often called. The
tonality so constantly that of tonic and dominant
may be thought by some to be monotonous, but the
effect is not so. Light and shade are duly imparted bythe expression, which is a material part of the whole
design. The Sanctus is distinguished by bold modula-
tion always at the composer's ready command." Hosanna in excelsis
"introduces more fugal writing of
a fluent and adequate kind. A chaste and expressive
subject brings us to the Benedictus, relieved by a fugal
passage given forte, and a repetition of the " Hosanna."
Finally there comes the "Agnus Dei," the chief subject
of which is the same as the great theme of Bach's five-
part fugue in C sharp minor. The beseeching (almost
163
Schubert
demanding) tone of this short passage, purposely con-
trived to be an oft-repeated petition, does not allow of
its regular development into a real fugue, though mostof the constituents are present. This gives way to a
plain but truly fervent" Dona nobis pacem," which leaves
us with a very real impression of the Peace which passethall Understanding. Schubert has himself explained the
secret of his power in dealing with sacred words :
"I
think that the reason of this is that I never force myselfinto devotion, or compose hymns or prayers unless I amreally overpowered by the feeling; that alone is real,
true devotion."
Schubert cultivated pianoforte-playing chiefly as a
means to an end;
and though on rarei i j i r i_
occasions he played perhaps one of his
Sonatas or Fantasias, he was more often content if
he could play the elaborate accompaniments to his songs,or maintain sufficient technique to bear a part in the
duets with Gahy, Hiittenbrenner or Jenger. He used
the key-board daily as an aid to composition, testing
passages that were afterwards transferred to paper. Hewas also fond of extemporising dance-music, some of
which was immediately written out. His technique was
not considerable, and he relied on expression, and fine
poetic taste, rather than upon the practised equipmentof a virtuoso. There is an interesting expression of
his opinion on pianoforte-playing in one of the letters
of I825-1 "
I played"(says he) "alone, and not without
success, for some of the listeners assured me that the
keys sang, under my hand, like voices; which, if it
be true, is a delightful compliment ; for I cannot abide
1 Letter of July 25, written from Steyr, to his parents.
164
Fantasie in C
that execrable pounding (" vermaledeite Hacken ")
common even to distinguished players ;for it neither
pleases the ear, nor moves the heart."
Gahy, who often played duets with Schubert, speaksof his pure, rapid playing, and of the bold conception,and fiery energy alternated with tender feeling all of
which qualities, possessed by "his short, fat friend,
raised his (Gahy's) spirits to the highest pitch." Whenthe pianist, Johann Horzalka, heard Schubert play one
of his sonatas, he was moved to exclaim,"I admire your
playing even more than your composition"
a remark
so equivocal that Schubert interpreted it in its least
flattering sense.
There is an amusing incident recorded of Schubert's
performance of his Fantasia in C major (op. 15) a work
which every student may know is not to be trifled with.
Schubert was playing this composition . & ,
to an audience of friends, among whom ~T _ . .
' ~rrii Down
were Kupelwieser, Spaun and Gahy. Thefirst part of the piece had been successfully tackled, and
the middle portion expressively played ;the player also
survived Part iii. Then, with the impetuous finale, camedisaster. He played it at full speed, with ever-increasing
energy ;but alas he was riding for a fall. This soon
came, for he suddenly stuck fast in the middle of
the movement. The story adds that Schubert rose
hastily from his seat, and invoked infernal aid in
the following terms, "Let the devil himself play the
stuff."
It would seem that neither in his own day nor in ours,
have Schubert's pianoforte compositions been thoroughly
appreciated, though both pianist and theorist are forced
165
Schubert
to admit that his best examples (some of which are
mentioned later) are second only to the best of
Beethoven's. Here is Liszt's view :
" Our pianists have no notion what beautiful treasures
his pianoforte compositions contain. Most players go
through them en passant, and, observing here and there
repetitions, long-drawn passages, and what might appearto be carelessness, forthwith do lay them aside.
Like the bird in the air, he lived in music, and sang
thereby most heavenly songs."With his usual fine critical perception, Sir Hubert
Parry has written as follows :
"Schubert's sonatas do not show any operatic traits
of the old manner, but there is plenty in them which maybe called dramatic in a modern sense. His instincts
were of a pre-eminently modern type, and the fertility of
his ideas in their superabundance clearly made the
self-restraint necessary for sonata-writing a matter of
some difficulty. He was tempted to give liberty to the
rush of thought which possessed him, and the result is
sometimes delightful, but sometimes also bewildering.There are movements and even groups of them which
are of the supremest beauty, but hardly any one sonata
which is completely satisfactory throughout. His treat-
ment of form is often daring, even to rashness, and yetfrom the point of view of principle offers but little to
remark, though in detail some perfectly magical feats of
harmonic progression and strokes of modulation have hada good deal of influence upon great composers of later
times.
"As a whole, though illustrating richly many of the
tendencies of modern music, the sonatas cannot be taken
166
Sonata in Gas representing Schubert's powers as a composer of
instrumental music so satisfactorily as his quartets, his
string quintet, and some of his finest symphonies. In
these he often rose almost to the highest point of
musical possibility."
This grand sonata a fine example of the form appliedto brilliant and spontaneous music, dates from ~, ~,
of ^r i .u i- u TheG-majorthe year 1826, an eventful though by no . / ,3
,.' rr,, . Pianofortemeans a prolific one. The string quartet r .
.1 -v j / Sonatain D minor and the violin rondo (op. 70)
prepared the way for the sonata. Schumann has de-
clared it to be " the most perfect work, both in form and
conception," which Schubert has left us. Doubtless this
should be taken as his opinion with regard to the pianoworks only, for the sonata could not possibly challengethe C-major Symphony in " form and conception." The
autograph reads,"IV. Sonate fur Pianoforte allein.
October 1826, Franz Schubert." The publisher (Tobias
Haslinger) was not content with the title, and improvedit into
"Fantasie, Andante, Menuetto und Allegretto."
In spite of its absurdity the description clings to the
sonata, and duly appears in Liszt's fine edition (J. G.
Cotta).From a player's point of view, the sonata demands
great delicacy of tone-production. No serious difficulties
arise, in fact the technique is on the whole quite simple,
yet the gradations of tone, and exquisite lightness of
touch, requisite to make the most of the work, call for
the highest musicianship, and above all for true
poetic conception. Let us examine the work more
closely.
167
Schubert
Molto moderate e cantabile.
_J U__fe 1 L__fe.
From this delicate and fanciful theme (extending to nine
bars) the movement proceeds by means of an ingenious"bridge
"(B minor and major), which, however, to our
surprise, brings a repetition of a portion of the first sub-
ject in the initial key (bar 1 7). The real"bridge
" then
leads us (bar 23-5) to the second principle theme, a broad
singing melody of ten bars (26-36).
A varied presentment of the whole of the second themefollows (bars 37-46). The codetta a finely coloured pieceof writing leads us direct to a close in the dominant (bar
64). This portion of the movement is then repeated. The"free fantasia
"is founded on the first subject, which
proceeds from G minor (bar 65) to work to a powerfulclimax in B flat minor (bar 73). The second subject
provides a delicate contrast (bar 77) and gives way (at
1 68
"O Tobias!"
bar 82) to a repetition, a minor third higher, of the
whole of the "free fantasia" (so far discussed) by wayof a huge
"step" (82-100). A simple plaintive passage
leads us easily and naturally back to the"recapitulation."
Here we may note the compression of the original matter
of the first principal subject (116-124). Nine bars nowserve where twenty-two were originally called for. Withsuch alteration the key of the tonic is maintained andthe second subject introduced in formal style in the
same key (bar 127). The remainder of the material
falls into place in its transposed form, and, at bar 162,the coda proper is introduced with notable effect. This
is founded on the opening phrase of the movement andis an exquisite piece of workmanship. The whole move-ment has occupied no more than 174 bars and is as
formal as anything in the whole range of modern sonatas.
Well might the erudite "G.,}>1
noticing the publishers'"Fantasie," exclaim, with Beethoven,
" O Tobias !
"
The second movement a simple binary or song-formis a peaceful air dependent upon the expressive powers
of the player (bars 1-30).
Andante.Anaante. =>. ^ ^ r~^~i i *"^
'~ ^
A marked rhythmical figure (in heavy chords) is then1 Sir George Grove.
169
Schubert
announced, in the key of the relative minor (31-39).The same idea is afterwards presented with a wonderful
change from its former harshness to a most enchanting
quiet (40-49). Again come those clanging tones (bars
50-58), only to be in turn dispelled by the more pensivemood (59-78), which finally prevails and brings us back
to the original song (80). In the recapitulation there is
some slight variation of the original material. The
rhythmical figure now appears in the key of the tonic-minor
(no), and with this change the transposition of the rest
of the first portion of the movement is pretty methodicallyobserved until bar 156, when we come back for a brief
moment to the first theme in its original key (159-172). Acharming little coda of eight bars brings the piece to an end.
The minuet-and-trio is a fresh, characteristic movement,
proclaiming the authorship of Schubert in every bar. Thetrio is finely contrasted, being in the tonic major, as the
minuet was in the tonic minor (B). Both parts of the
movement are charged with very unusual emotion for the
class of piece.
The sonata closes with a grand rondo. This is obviously
gipsy music gay, light-hearted and extremely brilliant.
As in the first movement, the player will need the utmost
delicacy and niceness of judgment to do it justice.
Allegretto.
Gipsy Music
The subject comprises only four bars. This is expandedto 30 or even to 41, when after a sudden break, the
first subject resumes. There is a full close in the tonic at
bar 54, which serves to introduce the first episode, givenin the subdominant :
Con grazia.
PP
The twelve bars (from 56 onwards), beginning as
above, provide material for a considerable section of the
movement. First, the theme is announced in the upper
part, then the bass has a version (bar 69). It passes
quickly through A flat, E flat and D flat, only to return
(96) to the original key of the subdominant. A few
transitional bars (120-3) usher in the first rondo-subject,
in its own key (G). Some thirty bars' repeat is here to
be noted, with a cleverly designed modulatory passageat bar 156 and onwards. At 167 the rondo again comes
round for a brief moment, and closes in the tonic (179).The second important episode follows in the key of E flat.
PP
In its fairy-like passages it matches the first episode.At bar 2 1 1 we are led by a crescendo passage to the keyof C minor. The theme then announced is grave and
impassioned almost as a song of destiny (bars 213-228).This recurs, given fortissimo by the bass, which leads
gradually to a version of the same theme in C major
171
Schubert
pianissimo (245). Again comes the tremendous appealfrom the bass (261), which gradually becomes softened
and melts in the ethereal strains of the episode noted
above (bar 279, compare bar 181). We now progresstowards the original rondo-theme, which appears at 321,and keeps the even tenor of its way for some forty bars
or more. At 367 the coda proper is entered upon, and a
right merry one it is (367-407), ending with a final assertion
of the original statement contained in the little four-bar
subject (408-41 1).A word may be added on Liszt's very
judicious edition of this sonata. The phrasing is through-out markedly emphasised, and useful suggestions are givenfor tone and touch. In a few cases the chords are amplified,as Schubert was wont to write but thinly for the pianoforteat times. Nothing is added to the minuet and trio. Butwherever alterations are introduced they are printed
small, and apart from Schubert's own text, which is thus
perfectly respected.
Having so fully considered the Sonata in G (op. 78)~ "the most perfect in form and conception,"3P*"
according to Schumann verymuch less spacecan be devoted to the others, which, like that in D major(op.
53), would otherwise claim almost equal attention. Thefirst movement of opus 53 is a powerful piece of work in
which the solo instrument has full play. The vigour of
the writing is remarkable, and only a performer of strongly-
developed finger-power will be able to do justice to the
finely conceived Allegro Vivace. There follows a lovelyslow movement Con moto which takes the form of a
long-drawn and highly expressive song, broken, however, bya vigorous middle portion. If the piece has a fault, it
must be allowed that its length is somewhat more than
172
Sonata in A minor
modern average patience is wont to countenance. Thescherzo is of determined and original rhythm, made upof strongly devised chords and powerful contrasts
;while
the trio, a heavenly strain in G major, sets it off to rare
advantage. At first sight the final movement seems out
of place. The writing appears thin and weak, and the
subject-matter far too inadequate for the fine work which
has preceded it. But the movement will bear study, andthose who take the trouble to master it will not be dis-
appointed. The gipsy element must not be overlooked.
Played with extreme delicacy and dexterity it is gracefuland supremely charming especially the middle section
(in G), which bespeaks the gaiety of Viennese life, the
uncontrollable spirits of youth, the passing fancies of a
teeming imagination, or indeed what-you-will of brightnessand beauty.
Op. 42 a highly original and characteristic sonata has
been pronounced by some to be Schubert's Au TA i. i i i vu 4.1.
A-minorbest. It certainly claims a place with the ~
parallel works in G major and D major, thoughinferior to both in technique and in poetic invention. Thefirst movement moderato in A minor has fine rhythmand excellent tone-colour, marred to some extent by a thin
technical structure which at times is such as we meet with
in Mozart. On the other hand, there are passages which,like the whole of the coda, are amazingly strong andmassive even to the point of suggesting an orchestra as
a better vehicle for the music's display than a mere piano-forte. The second movement, an expressive air with oneor two exquisite variations, an extraordinary example of
strength and delicacy in pointed contrast, is nevertheless
open to the charge of an imperfect technique. Of the
173
Schubert
scherzo and trio a swift and earnest little division of
the work we need not stop to repeat our doubly
emphasised view of technical imperfection. Exceptionalinterest attaches itself to the finale a spontaneous move-
ment, full of high thoughts and solemn purpose because
it gives a hint of the great theme afterwards employed in
the finale of the C-major Symphony.1
The simple secret of the inadequacy of Schubert's piano-
forte-writing in his sonatas, as compared with the full andfinished work of Beethoven, is probably explainable byFranz's half-mastery of the instrument which Beethoven
had completely subjugated to his will. The same
deficiency is not seen in a comparison of the two masters'
string-quartets, and certainly does not exist if the symphonicworks be laid side by side. None but a virtuoso ever
wrote with a full measure of success for the pianoforte,and it is certain that Schubert fell short of that descrip-tion.
Space does not allow of a detailed account of the
remaining sonatas, which are becoming better known as
the popular editions multiply. Those who are interested
in the methods of work which belonged to the composer,will read with interest the early sketches and varied copiesof several of the well-known sonatas, contained in Breitkopf& Haertel's twenty-first supplement, to which we shall refer
later.
Liszt and Schumann were among the first to discover
that in the pianoforte compositions of Schubert there was
a rich store of pieces of every possible variety and scope,
ranging from such important works as the "Wanderer1See^bars 181 of the last movement of the Piano Sonata, and com-
pare bars 190 and onwards of the finale of the large C-major Symphony.
174
String Quartets
Fantasia" 1
(op. 15), written in 1 8 2 3 one of the finest and
most poetic of them all to the little dance-pieces that
are rarely without some special fragrance and delicacy.
Some of these works, like the Impromptus (op. 90 and 142),are now widely and deservedly known. The late Sir
Charles Halle and Madame Schumann helped to bringthem into popular notice, at a time when Schubert's
reputation as a composer for the pianoforte was of com-
paratively small account. The " Moments musicals"
(op. 94), together with a mass of short movements
grouped in the Landler, Valses Nobles, Walzer, Ecossaisen,
Allemandes, Gallops, etc., indicate a class of work of
which we can give but the bare titles. In the pianofortemusic for two performers there is much to admire. Thevariations (op. 10) presented to Beethoven form an
effective example of this kind. The list could, however,be extended indefinitely; for there are still sonatas (fortwo players), divertissements, several fine fantasias, and
military marches, forming together a whole library of
pianoforte-duets delightful to play and to hear. A few
further pieces for piano-solo and duet are mentioned at
the end of this part of our book.
Most musicians will easily agree with Berlioz that the
String-Quartet is the most difficult task a composer can
undertake. The best training for such achievements is to
familiarise oneself with existing masterpieces by playing in
1 Kreissle remarks oddly enough of this Fantasia, that "the con-
struction of the first and last movement seems certainly rather
uncouth ... it ignores artistic rules and formulae, even more than
Schubert's other instrumental works." It would have been interest-
ing had we been informed what precise rules and formulae governthe Fantasia as a musical form.
175
Schubert
them. A command of vocal counterpoint will not help here.
There must be actual and vivid realisation of the written
effects. Schubert was a clever viola-player, and could
join in rendering the works of Mozart and Haydn with
true mastery of their technical difficulties. We need,
then, seek no further for the explanation of his wonderful
facility in a form of composition admittedly the most diffi-
cult of all.1 As a boy of fifteen Schubert had essayed a
work of this class. While he was but sixteen, three further
string-quartets were composed. With these, however, we
need not concern ourselves. It is convenient to take the
nine quartets published by Peters (one of the earliest
editions) and rapidly review their leading characteristics.
The first of these (op. 29 in A minor) composed and
published in 1824, was the only one issued duringSchubert's life-time. It is dedicated to I. Schuppanzigh
one of the Rasoumowsky quartet-players. A few bars
of the theme are quoted for purposes of identification.
Allegro ma non troppo.
pp1 Schubert's association with Schuppanzigh, Weiss and Linke,
three of the players in the famed Rasoumowsky quartet, may be
further noted in this connection. In 1824 they took part in a per-
formance of Schubert's Octet, and it is quite possible that their
influence counted for much in his later productions for strings.
176
Beautiful Andante
The character of this movement, at once passionateand graceful, is of undeniable charm. Some points in
the opening reveal Schubert's peculiar method of con-
structing a first movement. Thus after the initial
twenty-four bars which lead to a dominant close, the
principal subject is given in the tonic major, and with
very beautiful effect. The so-called"bridge
"proceeds
anything but directly towards the relative major ; yet the
music called forth makes one decline to see any necessity
why it should. A tonic pedal (in the relative major key)serves as a basis for the second subject, which is sweet
and expressive (and not otherwise remarkable); after a
brief modulation which no one but Schubert or Beethoven
would have thought of, the double bar appears, and the
whole material is repeated in the usual way. The interest
is maintained to the end, where an exceptionally original
coda is introduced.
A beautiful Andante movement follows in C majora very real inspiration which will always be
heard with pleasure ; though the construction is of
simple design, each part teems with expressive interest.
Those who believe Schubert to have possessed but
small counterpoint should read, mark and learn
bars 54-80. As the theme is repeated at this point,
M 177
Schubert
I cannot do better than quote a couple of these
bars.
Andante.
For the remaining movements a word must suffice.
The minuet and trio is unconventional, in its openingon a dominant pedal ;
while the final Allegro Moderateis full of gaiety, and contains many a quaint touch and
original thought which loudly proclaim its composer.The quartet in E flat (op. 125, No. i), though written
in the same year as the work just discussed, is not so
strikingly original. It reminds one of Mozart and Beet-
hoven at the outset.
Allegro moderate.
The whole of the first movement is solidly built, andcontains much effective part-writing, which cannot but
please players and hearers alike.
178
Quartet in E
A short scherzo and trio (in E flat and C minor
respectively) coming second, remind one of Beethoven's
disposition of the four movements, which Schubert has
generally followed. The contrast produced by this
second movement is excellently contrived. For the
third movement, Schubert returns to his original key
(E flat). The tone of the opening is decidedly of a
religious cast, indeed the first subject would not have
been out of place in a Sanctus.
Without change of key, the finale introduces a grandrondo, which is for the most part gay and bright, with anundercurrent of jolly rhythm, which gives way at times to
more serious and thoughtful passages, but reasserts itself
in the concluding bars.
Of the same year is the Quartet in E (op. 125, No. 2).
In this work the composer returns to his own original
methods. Brilliance is his aim from the first to the last
note. The first movement begins thus :
Allegro confuoeo.
The andante (in A major) which follows is still in a
light vein, but it is melodically so charmingly conceived
and so refreshing if not naive in its turns and graces,
that we are reminded of the methods of Mozart. The
179
Schubert
return to the original key bars 75 and 76 is character-
istic enough for quotation :
Andante.
The minuetto (Allegro Vivace in E major) is one of
the most original of its kind, with a trio in good contrast
but not otherwise remarkable; while the rondo which
concludes the whole is a well defined formal movement,which need not detain us.
The posthumous Quartet in D minor (No. 4 in Peters'
edition and 14 in Breitkopf & Haertel's) is a great
masterpiece. It is characterised by intense fire and
energy, deep seriousness, and a formal beauty for whichSchubert is rarely given due credit. The first movementis of supreme interest. We can only quote the initial
bars.
Allegro.
Wagner Motif
In the second movement Andante con moto, in Gminor Schubert introduces " Der Tod unddas Madchen,"the song of Death and the Maiden (op. 7, No. 3), to which
he adds five variations. This exquisite theme forms the
text of an eloquent discourse, in which chaste and ex-
pressive writing distinguish the movement throughout.A vigorous scherzo the first phrase of which hints
at the origin of the motif identified with Mime in
Wagner's Siegfried with its pendent trio a truly
delicious strain worthily continue this splendid quartet.
The opening of the scherzo is as follows :
Allegro molto.
^-r-n=F^. .Zg :_
T-A very vigorous and sustained presto movement (in
D minor) brings the work to an end. Kreissle mentions
that at the first performance of Jan. 29, 1826, this fourth
movement was adjudged to be too long, and that Schubert,to oblige his friends, cheerfully cut out a large section.
This cannot now be verified, as the autograph score has
unfortunately disappeared.At the end of the Quartet in G major (op. 161) is the
date 30/6/26, thus indicating a ripe period of composition.The MS. is understood to have occupied no more than
ten days to complete. Like the work last considered, the
181
Schubert
G-major Quartet is one of the great ones. It has all the
vigour of the D-minor (see above), but it does not seemto possess the same variety. The proportions are almost
symphonic, and might seem to require a full orchestra in
places. The first movement opens with this strain :
Allegro moIto moderate.
. Ji_ . _ i_' -!/* j
fg^^e^^j=gg^ =^3=dEz t=^\~ F=5^Ebd:
The second movement (in E minor) is of elegiac
character. An important share falls to the lot of the
'cello, which announces the theme.
There is something of the Beethoven manner in the
scherzo, especially in the way in which single instruments
take up the lead. From the brisk energy of this numberthe suave refinement of the trio provides grateful relief.
The keys are B minor and G major. One can imaginethat the finale would be considered very daring in its
day; the subtle admixture of G major and G minor
anticipating a similar effect in the opening of Brahms'
well-known Symphony in E minor. The general im-
pression of Schubert's finale is almost that of a Tarantella,
though it never descends to the flippancy commonlynoticeable in such pieces. It is grave, impassioned, and
at times of resistless impetuosity.
182
Early Quartet
1
Opus 1 68 will not detain us long. It is quite an
early work, and its interest is accordingly not on the same
plane as the two previous quartets. The autograph casts
an unusual light upon the method in which it was com-
posed. At the head of the first movement is the date of
its commencement, namely"
5. Sept. 1814," while at the
end we read,"completed in four and a half hours
"
certainly a wonderful morning's work for a youth of
seventeen. The first violin announces the theme alone,
thus :
Allegro ma non troppo.
-G^&
p espress
On the following day, the autograph shows, the slow
movement was begun. This is a graceful, clear-cut and
expressive little piece, in the vein of Mozart. It was
completed on Sept. 10. The succeeding day was devoted
to the composition of a vigorous little minuet (in E flat, with
trio in the same key) ;while in three days more, i.e. on
Sept. 13, 1814, the quartet was completed by the addi-
tion of a well-designed but not very original rondo in Bflat, which seems modelled to the mood of Beethoven's
earliest compositions.The G-minor Quartet (No. 7 of Peters' edition, and 9
of Breitkopf & Haertel's) dates from a year later than
the work just mentioned. It occupied the week March
25 to April i, 1815. and shows a real advance, especially
1 This quartet was originally begun in the form of a trio ; after ten
lines in that form, it was recommenced and finished as a quartet.
Schubert
in the first movement, upon its predecessor. The subject
promises well :
Allegro con brio.
* *l *l a *1 '.ii-3=^^
j
ff r. ,j ** J r .
The remainder of the movements do not seem to aim
so high ;for while the andante is a sweet little division,
the minuetto (in G minor) a correct and effective
number, with the succeeding rondo in the style of papaHaydn, none of these can be regarded as of much import-ance.
Portions of the Quartet in D major (Peters' No. 8)seem almost too good for the period to which it is assigned
(Dec. 1814), did we not know that pieces like" Gretchen
am Spinnrade"(op. 2.) were of that year's composition.
I give four bars of the opening to ensure identification :
Allegro.
3^
184
Quartett-Satz
The andante (in G major) leaves us in no doubt,
however, as to the immaturity of the work, and even endsin a lame manner. The minuet (in D) and the trio (inB flat) are fairly interesting ;
while the final presto (in Dmajor) has many attractive features. What strikes one as
a curious merit in nearly all these pieces is the extreme
fluency of melody and a no less wonderful mastery of the
sonata form. Crudities rarely seem to obtrude them-selves.
Another early work, "Quartett-Satz," probably written
in 1814, occurs as the final piece in the selection under
consideration. The piece is in sonata form and is fairly
workman-like and effective, but is of little further con-
sequence, and is only mentioned by way of completeness.Here is the opening subject :
Allegro assai.
f>
grtiJ. * friM"? -
pp v.i.' ~ r ^^^ tij
1It is well known that Franz Schubert never visited
England. The earliest mention of his music , , . .
T? r u j- i u ui MUSIC inin an English periodical is probably con-
j? j jtained in the Quarterly Musical Magazine
"
and Review (vol. x. p. 189) of 1828. It reads : "Theother young composers who have distinguished themselves
at Vienna are MM. Sechter, who is greatest in Fugues, and
Schubert, who composes beautiful melodies." In The
185
Schubert
Cadeau of 1831 a New-Year's annual the F-minor
melody from the " Moments Musicals "(op. 94, No. 3)
makes its first appearance in an English print underthe curious description, Russian Air. Next year the
same publication included the "Erl-king." A separate
issue of the same song also dates from 1832, when it
was published by Messrs Wessel & Co. (afterwards
Ashdown). Five years later, Messrs Ewer & Co. beganto bring out songs by Schubert in their
" Gems of
German Song."
Among the first to popularise the songs in this countrywere Madame Schroeder-Devrient and Herr Kroff. whovisited England between 1832 and I836.
1
So many of Schubert's songs now began to maketheir appearance that a writer in the Musical World
(1839) is concerned for their origin.
"A deep shade of suspicion, we regret to say, is
beginning to be cast over the authenticity of posthumouscompositions. The defunct popular composer not onlybecomes immortal in the poetical sense, but, by a curious
felicity which publishers can best explain, actually goeson composing after he is dead. All Paris has been in
a state of amazement at the posthumous diligence of the
song-writer F. Schubert, who, while one would think his
ashes repose in peace at Vienna, is still making eternal
new songs, and putting drawing-rooms in commotion."
Comment is now unnecessary, as the catalogues at
the end of this book sufficiently explain any"posthumous
diligence" imagined of the Musical World in 1839.1 Herr Kroff is credited with having introduced "The Wanderer,"
for the first time in this country, at The Classical Quartet Concerts,
April 8, 1836.
186
C-major SymphonyThe year 1839 might have become memorable in the
history of Schubert's music in England, for then it was
that Mendelssohn addressed the Philharmonic Societyin London, writing from Leipzig on March 29 :
"I
hope to be able to send you a very extraordinary andexcellent symphony of F. Schubert, the famous composer,which we performed here at our last concert with great
applause. I have written to Vienna to get permissionto send the work to the Society, and shall forward it
immediately if I am allowed to do so."
The parts were duly sent three weeks later. Theywere copied and a score was made. So much is witnessed
by the reply of the Philharmonic Society's secretary
(Mr Watts), who explains that it is hoped that the workwill be performed next season. Nothing, however, was
done until Mendelssohn visited England in 1844 to con-
duct the Philharmonic Orchestra. Then the symphonywas put in rehearsal. Unfortunately the members of
the band laughed at the triplets, it is said, of the last
movement. 1
Mendelssohn, in high dudgeon, withdrew the work,and the poor Philharmonic thus wantonly deprived itself
of a very considerable honour. After the lapse of twelve
long years, and thanks to the sympathetic activity of
August Manns, the C-major Symphony was produced,in two sections, at two concerts given in April 1856,at the Crystal Palace.
It attracted but little attention, but the two dauntless
admirers of the Vienna master were nothing moved.
1 Habeneck rehearsed the same symphony at Paris in 1842, with
the result that the band refused to go on with it after the first move-
ment. What tyrants orchestral players must then have been !
187
Schubert
The names of Grove and Manns are associated in this
production, for though Manns was the one who initiated
Grove into Schubert's wonderful work, Grove had been
instrumental in getting the conductor duly installed ; andin all matters relating to Schubert he proved himself an
invaluable ally to the Director of Music. Sir AugustManns, alluding to this first production in England, says :
"I very vividly recollect that after the rehearsal I
entered Mr (now- Sir) George Grove's office, and stated
in the most enthusiastic terms how deep an impressionthe symphony had made upon me, urging him to comeand listen to its performance. He, Sir George Grove,
admired, but at the same time pitied my enthusiasm,because the work would never receive the sympathy of a
Crystal Palace audience. However, Sir George did comeand listen to the performance ;
and it was from that time
that his enthusiasm for Franz Schubert's genius took
root, and gradually developed into that active participa-
tion in the researches concerning Schubert's compositionswhich have borne such splendid fruit, and benefited
musical art in England and abroad to such a greatextent. ... I have reason to believe that my perform-ance of the C-major Symphony in 1856 was the first in
England, although I remember hearing one of the
members of my then very small band speak of a rehearsal
of it under the late Dr Wylde, when at the close of the
first movement the principal horn called out to one of
the first violins, 'Tom, have you been able to discover a
tune yet ?' '
I have not,' was Tom's reply. I quotethese remarks made by two of the foremost artists in
Costa's band, then the only band in England, in order
to show how great was the prejudice at that time against
188
Grove in Vienna
any compositions which did not come from the sanctified
Haydn, Mozart, Beethoven and Mendelssohn. ... I feel
thankful for having been able to help in the good workwhich has been accomplished in England during the last
forty years."1
The story of Sir George Grove's visit to Vienna, in
company with Sir Arthur Sullivan, in quest _,
of unpublished MSS., is best told in his ownwords. A complete account of the successful
errand undertaken is given in the Appendix to the Englishtranslation of Kreissle's "Life of Schubert." It was in
the autumn of 1867, that fired with a noble enthusiasm
for the recovery of what remained of Schubert's priceless
scores, the two friends set out for the Austrian capital." So far, success brilliant success. But I had failed
in one chief object of my journey. The Rosamundemusic was almost dearer to me than the symphonies.Besides the entr'actes in B minor and B flat, the '
Ballo,
No. 2,' and the 'Ballet Air, No. 9,' which we had already
acquired in 1866, we had found at Mr Spina's anentr'acte after the second act, and a '
Hirten-Melodie '
for clarinets, bassoons and horns; but we still requiredthe accompaniments to the Romance and the two
choruses, as well as the total number of pieces and their
sequence in the drama. To quit Vienna without these
would have been too cruel, and yet neither from DrSchneider nor Mr Spina, nor in the library of the Musik-Verein where the admirable librarian, Mr C. F. Pohl, was
entirely at our service had we succeeded in findinga trace of them.
"It was Thursday afternoon, and we proposed to leave
1 Musical Times, February 1897.
189
Schubert
on Saturday for Prague. We made a final call on Dr
Schneider, to take leave and repeat our thanks, and also,
as I now firmly believe, guided by a special instinct.
The doctor was civility itself; he again had recourse to
the cupboard, and showed us some treasures that had
escaped us before. I again turned the conversation to
the Rosamunde music;he believed that he had at one
time possessed a copy or sketch of it all. Might I gointo the cupboard and look for myself? Certainly, if I
had no objection to being smothered in dust. In I
went ; and after some search, during which my companionkept the Doctor engaged in conversation, I found, at
the bottom of the cupboard, and in its furthest corner,
a bundle of music-books two feet high, carefully tied
round, and black with the undisturbed dust of nearly half
a century. It was like the famous scene at the monasteryof Souriani on the Natron lakes, so well described byMr Curzon :
' Here is a box,' exclaimed the two monks,who were nearly choked with the dust
;
' we have found
a box, and a heavy one too.' 'A box,' shouted the
blind abbot, who was standing in the outer darkness of
the oil-cellar' a box ? where is it ?
' '
Bring it out,
bring out the box. Heaven be praised. We have found
a treasure. Lift up the box. Pull out the box,' shouted
the monks, when we had dragged out the bundle into the
light, and found that it was actually neither more nor
less than what we were in search of. Not Dr Cureton,when he made his truly romantic discovery of the missingleaves of the Syriac Eusebius, could have been more
glad or more grateful than I was at this moment. For
these were the part-books of the whole of the music in
Rosamunde, tied up after the second performance in
190
Instrumental Combinations
December 1823, and probably never disturbed since.
Dr Schneider must have been amused at our excitement ;
but let us hope that he remembered his own days of
rapture ;at anyrate he overlooked it, and gave us permission
to take away with us and copy what we wanted, and I
now felt that my mission to Vienna had not been fruitless."
The parts had now to be copied. By writing at
their top speed, the two Englishmen, assisted by C. F.
Pohl (the well-known German biographer), finally ac-
complished their work by two in the morning. Reportadds that Sullivan and Grove duly celebrated the close
of their labours in a game of leap-frog round the room.
Schubert was nothing if not original in his combinations
of voices and instruments, or of instruments alone. As
early as 1813 he wrote a cantata for three male voices
and guitar, in celebration of his father's birthday. The
guitar was in some request at that time, a fact which
accounts for the several songs in which the instrument
plays a part, also for op. 1 1, where it serves to accompanyfour voices. Schubert, in the same year, composed the
little octet for wind-instruments " Franz Schuberts
Begrabniss-Feyer." There is also the Minuet and Finale
for two oboes, two clarinets, two horns and two bassoons;
and the " Fiinf Minuette und sechs Deutsche "for two
horns and strings, another composition of 1813. Amuch more important work is the Octet (op. 166) for
strings, clarinet, horn and bassoon, which, despiteits great length an hour in performance is a brightand beautiful creation. Smaller pieces may be noted,such as the "Introduction and Variations" (op. 160) for
flute and pianoforte, written, it is understood, for
Ferdinand Bogner in 1824, or the Sonata for piano and
191
Schubert
a small harp (Arpeggione) of the same date. Some of
the songs too have an obbligato ;for example,
" Auf demStrom "
for voice, horn and pianoforte, and " Der Hirt
auf dem Felsen"
for voice, clarinet and pianoforte. Such
pieces have some bearing on the larger combinations,which in the instrumental department naturally find their
full expression in the symphony. Nor must we lose sight
of such a work as the Quintet in C, for strings a broad
and beautiful composition, recalling the mood of
Beethoven, though full of Schubert's own individuality.
Passing to the Overtures, these, with the exception of
Fierrabras and Rosamunde both fine achievements
may be generally pronounced as of less importancethan the corresponding works of Beethoven, though theystill have an honoured place in Schubert's repertory of
compositions, recommending themselves for brightness,
brilliancy, lightness of touch, and allied qualities, rather
than for the profound and intellectual expression in which
the former master's utterances excel.
The first symphony is dated Oct. 28, 1813, being_. composed while Schubert was still a pupil at
~ , the Convict school. It is in the orthodox*
four movements, the first being somewhat
long drawn out (having 533 bars, not count-
ing repeats). Kreissle states that the work was written
for the name-day of Dr Lang, who, in 1813, was the
Convict Director.
The score reads as follows : 2 violins, viola, 2
oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets,
drum, 'cello and bass.1
1 It is not improbable that the Convict Orchestra is exactly
indicated in the plan of the score.
192
First Symphony
[Introduction. ] Adagio.
ff TQSEE
r
Allegro vivace.
p-
Andante.
ft"fti^ : iIS
" - tpN 193
Schubert
Menuetto. Allegro.
Allegro vivace.
The second symphony followed its predecessor at an
interval of little over a year, and the MS.bears the dates Dec. 10, 1814, March 24,
1815. An additional flute is employed in
the score, the other instruments remain un-
Schubert had left the Convict and was now an
elementary teacher in his father's school and a private
pupil of Salieri. The symphony is a real advance on
No. i and possesses more individuality, while the instru-
mentation is both freer and surer.
194
Second
Symphonyin B flat
changed.
Second Symphony
Largo.
'~mr~r
Allegro vivace. sf. p
rro
ii ii(2 r
195
Schubert
Andante.
Menuetto. Allegro vivace.
Presto vivace.
1 -&* Tf^ 1 1~ "-
E^l^iSchubert proceeded cautiously in his symphonic writing,
7% j f r his third work, written in 1815 (the year of
S mthonvthe " Erl"k ^n ") shows DUt little daring com-
. pared with that he put forth in his song-
writing. No doubt the Convict orchestra
was the only one which he could as yet command, but it
196
Third Symphony
is doubtful if such a consideration would count for much.Beethoven had already produced eight of his symphonies,most of which Schubert had heard, and in some, had
played. If it surprises one, however, to find Schubert's
third effort still immature, still unindividual, we must turn
to the 144 songs or the five operatic pieces which the
same year brought forth and marvel at the genius which
could produce with such rapidity so many splendid
compositions.
Adagio maestoso,
Fl. & Ob.
Allegro con brio.
P \, 'I,
a jy^ j_> JT3 j r
r--ftiiry~fjlnvf 1=-* i* -g -
gy-fTrV-f-r^^^ :
197
Schubert
Allegretto.
Strings.
J
Mcnuttto. Vivace.
Presto vivace. (Strings.)
3r^^^B mn^m I^MM *
. M- -JM-P- -<W -fi-- -(?
=F
Tragic"
Symphony
Fourth
Symphonyin C
minor
The autograph score of the Tragic Symphony is in
the possession of Herr Nicolaus Dumba of
Vienna. It is dated April 1816. The de-
scription"tragic
"is the composer's own.
Kreissle mentions that the second move-
ment of this symphony was given at a
concert in Vienna, December 1860. Grove believed
the original score to be lost, and obtained a copy of
Ferdinand Schubert's transcript, then in the possessionof Dr Schneider. The symphony was produced under
August Manns' direction on Feb. 27, 1868, at the
Crystal Palace. The score is as follows : 2 violins,
viola, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns,
2 trumpets, drums, 'cello and bass.
Adagio molto.
Allegro vivace.
^zq-bE^fl
ir
199
Schubert
Andante.
(Strings.)ngs.] ^T r v 1
WMenuetto. Allegro vivace.
mr
ffitt*:
$m ^r-r?/'i* _ f^-rt-EA fifth work is known as
" the symphony without
trumpets and drums." It is scored for 2 violins, viola,
flute, 2 oboes, 2 bassoons, 2 horns, 'cello and bass.
200
" Without Trumpets and Drums
Kreissle speaks of its being designed for the Society of
Amateurs, for whom Schubert was in the habit of com-
posing a Society which had grown from ap-fti,
string-quartet (at the elder Schubert's house)J
into a small orchestra, capable of performing
Haydn's symphonies, etc. The autographof the fifth symphony preserved in the Royal Library,
Berlin is dated Sept. 1816.
in B flat
Allegro.
(Wood-wind. )
Andante con moto.
201
Schubert
Menuetlo. Allegro molto.
-fc
(Trio.)
l(V) \ 1
Sixth Symphony
second Gesellschafts-concert, and repeated March 12,
1829, in the Landstandischen Saal. Forty years later the
symphony found its way to the Crystal Palace (Nov.21, 1868). The work marks a transitional period in
Schubert's symphonic style. He is just emerging from
the influences of Mozart, Haydn and Beethoven. The
autograph score, in possession of Herr Dumba, shows the
work to have been completed Feb. 1818. Clarinets,
trumpets and drums are now added, the score being as
follows : 2 violins, viola, 2 flutes, 2 oboes, 2 clarinets, 2
bassoons, 2 horns, 2 trumpets, drums, 'cello and bass.
Adagio. "Grosse Sinfonie in C."
(Clar.)
203
Schubert
Andante.
T r
_
fir
Scherzo-Presto,
t
(Strings.) /
*
Allegro moderate.
I 3. !1
! J.
^ k I
The autograph sketch of a symphony in E minor is so
graphically described by the late Sir George Grove, into
whose possession it came, that liberty is taken to quote someof his remarks thereupon.
"This, like the symphony in B
204
Sketch of a Symphony
minor, is incomplete, though its incompleteness is entirely
of a different nature. I made enquiries of various membersof Mendelssohn's family, but without success. However,I persevered, and was at length rewarded by receivingfrom Mr Paul Mendelssohn of Berlin, the brother of the
composer, the original MS. sketch which I had so
anxiously desired. Judge of my astonishment and de-
light when on undoing the parcel I found a whole sym-
phony in forty-four sheets. It is one of the most interest-
ing and singular works to be found in all the musical art.
The introduction and a portion of the allegro are fully
scored and completed ;but at the 1 1 oth bar (the end
of a page) Schubert appears to have grown impatient of
this regular proceeding, and from that point to the end
of the symphony he has made merely memoranda. Butthese memoranda are perfectly orderly and intelligible.
Every bar is drawn in through the entire work;the tempi
and names of the instruments are fully written at the
beginning of each movement;the very double bars and
flourishes are gravely added at the end of each, and "Fine"
at the conclusion of the whole; and Schubert evidently
regarded the work as completed."
Adagio, Sinfonia, August 1821.
stzz^s r T^FB ' rr-&
Bassoon.)^
(Strings in 8ves. )
-y+f-'E-V Bhv"- -jaa-^T5!
205
Schubert
Mr J. F. Barnett scored and completed the above
sketch, and the work was brought to a hearing at the
Crystal Palace on May 5, 1883. Messrs Breitkopf &Haertel, somewhat inexplicably, ignore the existence of
this unfinished symphony.In his last year, and with barely eight months of life
. before him, Schubert entered upon the com-
<>/ position of the great C-major symphony. It is"
by common consent regarded as his supremeachievement, and if long and sustained compositions are
the highest test of genius, Schubert has here shown himself
worthy to rank with Beethoven and Mozart as a master of
the greatest musical form. Freshness, fertility, melodic in-
vention, splendid pulsating rhythms these are some of the
obvious characteristics which inform this noble conception.The orchestration is picturesque to a remarkable degree,and while much of it was experimental in its day, almost
the whole has emerged scathless from the fiery test of
practical performance. Orchestral players under Habeneckin Paris, or Mendelssohn in London, could ill afford their
laugh at the use of the wind instruments in this work.
Little did they know that it was their own incapacity that
prompted it, and that their successors would vie with one
another in repairing the fault.
The general design of the symphony is in conformitywith classic tradition, as we now know it. Had the work
been produced in the year of its composition (1828), it
would not improbably have been classed with the foremost
of Beethoven's purely instrumental compositions.1 A
1 The distinction made allows of the "Choral" symphony being
left out of the comparison.
206
C -major Symphony
lovely theme, given in unison by the two horn-players,
serves to open the movement.
Andante.
1Corni in C.
The introduction is by no means a merely ornamental
preface, but as is shown by its reproduction in the form
of a peroration at the very climax of interest, it is in reality
one of the essential features of the composition. This
introductory passage (of 77 bars) grows in interest andexcitement until it enters upon the theme of the* main
movement, as follows :
Allegro ma non troppo.
(Strings and Trumpet.)(Horns.)
The subject is a stirring one, and gives a right joyous
opening to the symphony. It may be observed that the
ordinary"bridge
"is dispensed with, and the second
subject introduced (at bar 134) without more assistance
than is^derivable from a simple modulation of two chords ;
given in the first bar of the following example.
207
Schubert
Decresc. p
Ff-f-h-jg-^niiAib ,-i=b= __=!pizc:I I
..
ir -
This part of the movement becomes highly expressive
depending on the wood-wind instruments, which set
forth the leading ideas, to an accompaniment of violins
and lower strings. It is curious to observe the trend of
the modulations. Having passed through E minor, with
some rapid changes of key-colour, the codetta is wholly in
G a most eloquent passage. From here the composertakes us back to the usual re-statement of the whole of
the movement so far given excluding of course the
introduction. The piece has so far occupied 253 bars.
An unusually short development serves as the "free
fantasia" 102 bars only, and of this, one-half is derived
from the second bar of the introduction
=.
(see bars 304-355). Then follows an orderly recapitulation
which could scarcely have pleased the followers of Haydn,though it is clear and systematic in its form. For nowthe second subject enters in C minor, is re-stated in Aminor, and in due course reaches C major again, where
most of the previous material falls into place readily
208
Grand Slow Movement
enough. A grand coda Pitt-moto, from bar 570 leads
to the conclusion, which brings in the theme of the intro-
duction already alluded to. This is given fortissimo, in
place of the original announcement of the two horns
piano. The score covers no less than 685 bars.
For the second movement we have a lovely Andante
wn moto in A minor. There is a brief prelude formed
of the accompaniment, and then the theme
enters as follows, announced by the first
oboe, and accompanied by the strings :
(Oboe Solo.)
Second
Movement
The whole of this movement is in Schubert's very best
manner. It bears the stamp of an extraordinary in-
dividuality, and is full of beautiful emotion and fine poeticeffect. The alternation of major and minor a prominentcharacteristic of Schubert's later works is here seen to its
best advantage. It will also be observed how fiery is the
contrast of the first episode (bar 30) and how gentle the
return (at bar 44). A third theme in F major appears at
bar 93. Passing mention may be made of the use of the
brass especially the trombones which in Schubert's
hands become as expressive as any flute. Another feature
is the charming passage leading to a recapitulation (148-
160) by means of a most expressive utterance from the
o 209
Schubert
two horns. Many notable alterations occur in the repeat,
which, though it passes through A major, leads back
again and ends in the tonic minor, as it began.In the scherzo (Allegro Vivace in C major) Schubert
handles Beethoven's weapons with all apparent skill and
ease. The form alone is eloquent of Beethoven, the inner
spirit is wholly Franz's. Gaiety and sadness are most
curiously blended throughout this movement. Which
predominates, it is hard to say.
Scherzo. (Strings.)
The opening a part of which is quoted above is
certainly intended humorously ;but the trio, expressively
played, might easily draw tears. Attention may be directed
(in passing) to the connection between the two sections;
where the horns, repeating the note E, are gradually
strengthened by clarinets and tenor trombone, and finally
by bassoons and alto and bass trombone, and the trio
enters in A major. But we must pass to the last and
perhaps the greatest of the four movements.Almost startling is the opening theme as if a loud cry
had been uttered. The rhythm, too, which follows im-
mediately afterwards, is disquietening, and prepares the
mind for a troubled mood.
210
High Tragedy
(Full ffOrchestra. )
f-H^H
Long-drawn emotional passages succeed each other
generally delivered by the expressive wind-instruments
and always accompanied by the hurrying triplets of the
strings. The dramatic feeling intensifies at times to a
pitch of high tragedy. Indeed the music might be a
veritable ride to the abyss (see bars 114-117); but no!the human will is the controlling power, and no tricks of
Mephistopheles will here pass muster. After a terrific
emphasis of the dominant, and a brief silence (of twobars only), the second principal subject is ushered in.
(Horns,
P >
(Wood-wind.) p
r & F(Violas.)
('Cellos and Basses.) fizz.
211
Schubert
(Violins and Violas simile. )
! J. i JS
:t-*^*
This wonderful theme, which seems almost to throb
like a great heart in its singular rhythm, and surrounded
as it is by a strenuous and never-ceasing undercurrent of
nervous energy, dominates the greater part of the move-
ment. And even when the melody of the theme is no
longer present, the rhythm is there. As, for example :
(Wood- .
wind.)
(Horns & Trumpet.)
A notable use to which Schubert put his great theme
is seen at bar 202, where the oboes, clarinets and
bassoons whisper it forth;the effect of which, after the
rough manly strain which preceded it, is much as if the
melody had been taken up by the angels, and heard but
faintly by muddy-vestured mortals. The first portion of
212
Colossal Proportions
this finale having reached a most glorious climax (bar
334), the tone grows less and less, until one almost has
the feeling of standing in some vast cathedral, while the
pealing organ gradually fades into silence. It is only for
a brief moment, however, for we are hurried back to
action, as the whole of this section is repeated.The " free fantasia
"brings with it a large measure of
contrast. Delicate song-like passages float upon the
broad stream of sound, which never for an instant loses
its impetuosity. Even in the quietest moments the
rhythm is maintained. A fine point is made of the
development of a pianissimo into a fortissimo (bars 438-
472), by means of a rising sequence, which brings in its
train a strident utterance of the great second theme (or
its main features), from the trombones and horns. Much
ingenious development follows, chiefly on a pedal-note
(G) which appears in bar 520. This is maintained until the
entry upon the "Recapitulation," which, as a veritable
stroke of genius, is now commenced in E flat, in place of
the original key (C). The material is presented with
some grand extensions,1and, it may be added, the second
subject is given in its orthodox key, that is C. A power-ful coda completes the movement, which, in our view, is
certainly one of the greatest ever written. Schubert in
this work seems to us to have sounded the whole gamutof human passion. It is the whole drama of life summed
up in a symphony. Nor are its tragic elements over-
1 The colossal proportions of the finale are well seen from the com-
parison of its sections ; thus the first part to the double bar occupies
386 bars ; the fantasia takes another 217, and the recapitulation
covers 556 more. This makes a grand total of \ 1 59 bars for the last
movement only.
213
Schubert
looked. Those who hear the noble work worthily in-
terpreted, will find little difficulty in agreeing with
Beethoven when he exclaimed,"Truly Schubert has the
divine fire in him."
The following expression of opinion by one of the most
distinguished of European conductors loses nothing of its
weight through being rendered with enthusiasm an
enthusiasm born of close intimacy with the work of which
he writes :
" He was the lyric musician /car' eox*iv- Whatever, . he wrote, the most serene as well as the
most tragic work, seems as it were imbuedwith that infinitely soft, melodic element,
Schubert , . , , , .
'. ,. ~ .1
which always lets us perceive his figure as if
through tears of gentle emotion. A blissful warmthemanates from his music. Only think of the great
Symphony in C major. ... I cannot conceive how it is
that there are still people so ill-humoured as to think this
symphony too long, nay, even to ask for cuts to be madein it. I am not of their opinion, and I own that whenever
I hear this work well conducted, or when I conduct it
myself, I always experience the most happy sensations,
and am absolutely intoxicated with music. It produceson me the effect as of flight through a bright ether." l
It is difficult perhaps to realise that Schubert never
saw the sea;never lent an ear to that wonderful voice
which since the foundations of the earth were laid has
chanted its ancient ditty, whenever Dame Nature was in
the mood to make melody in her heart. I have never
yet heard Schubert's beautiful Tone-poem the B-minor
1 Felix Weingartner (in the Contemporary Review of Feb.
1899).
214
Unfinished Symphony
Symphony without being put in mind of the salt-flavoured
breeze, the splendid underlying pulsation of its waves,and the freedom and expanse which a wilderness of waters
conveys to the mind. It is not for a moment suggestedthat anything of the kind was in Schubert's mind's-eye,since the emotion which his tone-poem breathes mighthave been called into being by widely different objects
(or causes), or indeed its true source might nay, probablywould have baffled its human agent to define.
Allegro moderate.
(Celli e Bassi.)
A three-fold subject may be a technical misnomer, but
it is the description which best fits the opening subject-matter of this movement. The first section of this three-
fold subject (to retain the appellation) is shown in the
eight bars quoted above. These have all the significance
of an introduction, and surely one of the simplest ever
designed. That they are not a mere introductory feature
is afterwards proved by the phrase being treated as an
important and integral part of the leading theme. Thesecond part of the three-fold theme-material is seen in
bars 9-10 announced by all the strings :
215
Schubert
fizz.
It is plainly in the nature of an accompaniment (and a
very beautiful one) to a song. But the complete subjectdoes not unfold itself until we reach bar 13, when the
oboes and clarinets in unison give utterance to the
melody which was in waiting :
Beneath this appears the stringed passage (slightly
modified) quoted immediately above. Attention may bedirected to the delicate gleam of colour which the horns
and bassoons cast on the picture a brief moment later :
(Horns.)
(Drum.)
216
Unusual Key
Thought succeeds thought with ever increasing interest
and excitement (bar 26), until a powerful climax is wrought
(bar 38) and the key of the tonic is reached. Here wemeet with a simple little modulation quite magical in its
neatness and beauty
(Horns andBassoons. )
which serves to introduce the second subject. So natural
is the transition that anyone might hear the movement
many times without observing the unusual key to whichwe have been led namely, G major, or the first flat keyfrom the tonic :
(Clar.) pp
(C. Bass.) pizz.\
Here again the accompaniment (bars 42-4) precedes theair
;but being identical with that which accompanies the
melody quoted, I do not separate them. The strain (first
217
Schubert
delivered by the 'cellos) is a haunting one, such as the
poet had imaged when he tells us :
" This music crept by me upon the waters,
Allaying both their fury and my passion."
A fuller statement follows, where the upper strings take
up the song in place of the mellow-voiced 'cellos. Theblank bar (No. 62) suggests a sudden break in the
blissful dream;we are once more face to face with
stern realities.1
This second theme readily lends itself to imitation andother devices such as the employment of sections of the
main melody for the purposes of episode, etc. and of
these Schubert is not slow to avail himself. Indeed
throughout the whole work he seems to be unusuallyeconomical of his material, and little or nothing is intro-
duced which does not afterwards unfold many further
beauties. We may pass to the codetta, formed of a
portion of the second subject, and employed in imitation,
as the illustration of our remark. The modulation which
induces the repeat (bars 104-1 10) is a model of directness;
nor is it overlooked in the development.The free fantasia is truly wonderful. One may hear
such mystic sounds in some desolate place where the tide
breaks complainingly over the low-lying rocks. It is as a
song of forgotten ages it touches on the mystery of life
and death, the yearning of man, the futility of despair.
The mood changes, and Hope (with its trumpet-call)
regains its hold upon us.
1 A slight miscalculation in Schubert's score may be noticed in bars
63-6, where the wood-wind fail to sufficiently assert their phrases,
which are the real continuation of the melody in augmentation.
218
Melody from Fairyland
Schubert
or from some enchanted country which composers would
fain visit could they bring away such strains. There seems
scarce any analogy for the inspiration of this
movement;we may look in vain for any-
thing at all resembling it in the works of
Mozart or Beethoven. The strange blendingof peace and passion and the almost re-
ligious atmosphere of the whole, find a counterpart in
the well-known passage in the "Merchant of Venice" :
Andante
of the
Unfinished
Symphony
" How sweet the moonlight sleeps upon this bank !
Here will we sit and let the sounds of music
Creep in our ears ; soft stillness and the night
Become the touches of sweet harmony.
See, Jessica, how all the floor of heaven
Is thick inlaid with patines of bright gold ;
There's not the smallest orb which thou behold'st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubins ;
Such harmony is in immortal souls ;
But whilst this muddy vesture of decayDoth grossly close us in, we cannot hear it."
Andante con moto. pp(V. I &2.)
(Horns andBassoons. )
f f('Cello.)feprp
(Double i --P- -r
Bass.) pizz. \
i
h^
t
220
1 1
Bridge of Single Sounds
Extremely delicate contrasts of horns and bassoons (witha pizzicato bass), and violins, violas and 'cellos, mark the
opening of this delicious movement. A break from this
quiet vein occurs at bar 33, where the trombones and
trumpets utter a broad theme in strong contrast to the
stringed octaves :
(Wood-wind.)
Repeated in sequential steps, the passage acquires con-
siderable force and character ;then it
" dwindles and blends
like a peace out of pain," and flutes, clarinets and.bassoons
take up the original tender air (see bar 45). The device
of introducing a new theme from sustained single sounds
(which keep the ear in an expectant attitude) is here
employed with remarkable success (60-3) :
(Violins.)
-p
221
Schubert
The second principal theme (see above) thus makesits appearance in the relative minor (C sharp minor).Who could believe that this plaintive melody faintly
breathed by clarinet, oboe or flute should shortly appearclad in thunder pealed forth by the full orchestra ? (bar
96). A new and delightful feature of the continuation of
the movement is the duet between 'cellos and basses on
the one part and the first and second violins on the other
(bar 113 and forwards). The return from C to E (bars
134-142) is a most poetic device, with oboe, flute, horn
and clarinet gently calling to one another, while the strings
slowly glide to the appointed key (E major). In the repeti-
tion, much of the material is untouched;the second theme,
however, now appears in A minor, in place of C sharpminor. An especially beautiful and prolonged coda closes
the movement.In concluding these remarks it may be questioned
whether the impression conveyed by the title" Un-
finished"
is realised to any extent by the hearer of this
symphony. The unity of the four-movement type of
symphony (or sonata) is probably an illusion of habit,
which works like Beethoven's Sonata in E minor (op.
90) or that in F sharp (op. 78) another two-movement
sonata were intended to illustrate.
222
Portrait of Schubert
(from a. lithograph made in 1846 by J. Kriehuber)
Final Supplement
In their new critical and complete edition of Schubert's
works, Messrs Breitkopf & Haertel publish a large numberof pieces which have not before seen print. .. , ,
Among the widely miscellaneous assortment ,. TT .
c, ', . ^ 6 Haertel soffered, some numbers have the mere interest
^.,
of curiosity, others are incomplete breaking c ..,cc -L jj i u-i 11 u Supplement
oil quite suddenly while a smaller numberare available for purposes of performance or practice.
For example, let us take the publishers' Series XXI. a
supplement containing piano-pieces, a few early scores
and some late choral music. With the incomplete move-ments we are scarcely concerned, unless it be to express
regret that the setting of Goethe's "Gesang der Geister
iiber den Wassern "(for four male voices and piano)
which promised such great things was not carried to
completion.1.
First to catch the eye is a Concertstiick (or
concerto, as it is sometimes called) for violin, with an
accompaniment for a small orchestra, comprising trumpets,drums and strings, written in 1816. There is a short in-
troduction (Adagio), followed by a bright Allegro in Dmajor, reminiscent, it is true, of Haydn. The orchestral
accompaniments are not the least interesting feature of a
work which, though it cannot add to Schubert's great
reputation, might nevertheless be usefully added to the
repertory of the violin-player. A short string-trio in B flat
(in four brief movements), for violin, viola and 'cello, will
prove an attraction to performers who are in want of a
fresh, easy work. The trio, which is modelled on Mozart,is dated Sept. 1817, and contains many an individual
touch which none but Schubert would have contrived.
Two excellent pianoforte-duets are given in the same1 Three finished versions are published (see op. 167, etc.).
223
Schubert
volume a characteristic overture in G, and Schubert's
own arrangement of the overture to Fierrabras a
splendid composition of its class.
The Sonata in D flat, though unfortunately short of a
few bars towards the end of the last movement, is of
almost unique interest, in that it gives us an example of a
whole sonata planned in one key, and finally published in
another. For this D-flat sonata is none other but that
which appears in the printed editions as op. 122 in the
key of E flat. In all probability, Schubert transposed it
to the latter key to please the publishers with its easier
appearance a course often adopted with the published
songs for there can be no doubt that the sonata sounds
better in D flat.
A " Tantum ergo"
for chorus and orchestra (dated
1828) cannot but be of interest, on account of its com-
position occurring in Schubert's last year. The sameremark applies to an Offertorium " Intende voci orationis
meae" which is not only of 1 828, but bears the addition of
the month namely, October which shows that the workwas among the very latest pieces Schubert wrote. It is a
characteristic work, full of effect, and in every way suited
for performance in the service of the Church, for which it
was intended. The score is somewhat unusual, and con-
tains parts for the following instruments and voices :
Oboe solo, two clarinets, two bassoons, two horns, three
trombones, the usual string-parts, solo tenor, and mixed
chorus.
No attempt has been made at completeness in the
foregoing pages, for a glance at the list of Schubert's com-
positions (Appendix" B ") will show that this is beyond
the limits of a volume such as the present. So rich is the
224
Centenary of 1897
legacy of beautiful work, that one may be excused hesita-
tion in pointing to the masterpieces, where these are so
plentiful. Turn where we may to symphony or sonata,to opera or oratorio, or to the chamber music, with its
marvellous array of songs at each step we are greeted
by some lovely treasure which one is inclined to praise as
of highest excellence, until by looking further another en-
grossing work meets our glance, and we are in doubt as to
which should be most valued. It is Schubert's proudboast a posthumous one, it is true, for pride held no
place in his life, that he has enriched every department of
music with a masterpiece.
Time, that compresses most men's work with rigorous
hand, will deal gently with much of the master's best andmost perfect utterances, which will descend on the stream
of the years fresh and undefiled, a pure legacy to Schubert's
heirs those who love music throughout the wide world.
On Jan. 31, 1897, the birth-centenary of Schubert was
celebrated at Vienna by a series of performances ex-
tendine over a week. At the Imperial opera- ~\^jW,t&7LCLy\}
house, performances were given of Der , , ..
I.- i- i. v j iL o- -i ?-> Celebrationshaushche Kneg and the Smgspiel Die
vierjahrige Posten. The first named work had been
produced in 1871. The Rosamunde overture, playedat the commencement, made an excellent impression.The Posten had been reinforced by a few numbersfrom other of Schubert's dramatic works. It also wonmuch applause. At the Lichtenthal church once the
scene of Franz's earliest triumph in Church music the
Mass in F was given by the Schubertbund and the ladies'
choir. At the first grand concert, Richter directed
performances of the " Unfinished"
Symphony, the
p 225
Schubert
overture to Fierrabras, and among the choral pieceswere the "
Gesang der Geister" and the "
Standchen,"for female voices. At the second concert the principalworks were the overture to Die Zauberharfe^ portionsof Rosamunde and Miriam's "
Siegesgesang." Fraulein
Caroline Geisler-Schubert grand-niece of the composerplayed the Piano Sonata in G. The conservatorium
concert, directed by Dr Fuchs, gave a selection of rarely-
heard pieces, including the Overture in E minor, andscenes from Adrast and Fierrabras. At the house
where Schubert was born Nussdorfer Strasse 54 the
present owner, Herr Rudolf Wittmann, organised a concert
of music, in which the Vienna Liedertafel and the
Schubertbund took part. Herr Niggli (whose life of
Schubert is mentioned in Appendix" A ") contributed some
pianoforte pieces on the same occasion. An exhibi-
tion of Schubert-relics, MSS. and works of art, attracted
much attention.
Courteous Reader, the lesson which the story of
Schubert's life offers us is an old one, but, alas, it is one
that we have not yet learnt and it seems doubtful if weever shall succeed in learning it. 'Tis summed up in the
concluding words of Dr Burney's great History of Music
great, not so much on account of its accuracy, or its
examples, or its opinions, but because of its interest as a
human document. Burney's words are these :
"The artist who is suffered to linger in want and
obscurity is made but small amends by posthumoushonours and commemorations."
Equally worthy of consideration are the historian's
previous remarks leading to his conclusion :
"Though I
226
L'envoi
have constantly treated old masters with reverence, it has
never been at the expense of the modern. Indeed, re-
spect for the dead should not annihilate all kindness for
the living, who are in much greater want of patronage."
Patronage in its old sense has long ago passed out of
currency as regards Music, and doubtless very properly
so, too ;but the intelligent cultivation of the products of
our own little gardens of industry should not be beyondour powers, and if, at some future day, a rare plant be dis-
covered no thanks to us, but flattering our perceptive
faculty then may we cheerfully look on our duties dis-
charged (including the gratuitous tending of many a weedygrowth) as distinctly in our own interest, and no less in every-one else's
;for the tender flowers of Art should not be left
to a chance nurture, when they stand in need of warmth,
light, air, and indeed all the favouring protection and
help that a careful husbandry can afford or bestow. But
to the man of genius if perchance these lines ever meetthe eye of such an one Schubert's life also carries its
message, which may be given in the language of one who
spoke courage to us in every deed of his life :" Let no
man doubt the omnipotence of Nature, doubt the majestyof man's soul ;
let no unfriended son of genius despair ;
if he have the will, the right will, then the power also
has not been denied him. It is but the artichoke that
will not grow except in gardens. The acorn is cast care-
lessly abroad into the wilderness, yet it rises to be an oak;
on the wild soil it nourishes itself, it defies the tempest,and lives for a thousand years."
l
1Essay on " Life of Heine." Thomas Carlyle.
227
Appendix ABIBLIOGRAPHY
THE Schubert bibliography is neither attractive norvoluminous,and compares very unfavourably with that of Beethoven.The materials are slight, and even of these, the best fail to
carry that weight which a thoroughly sound historical narrative
must demand. Few letters are preserved scarcely morethan thirty-two, and though an editor would be more thanmortal if he were not humbly thankful that Schubert's
correspondence did not equal that of his brother in art
Tschaikowsky, whose 4112 letters should surely create a sort
of corresponding record even he could wish for more than a
meagre thirty-two. Schubert's diary deserved a better fate
than that allotted it. It has already been related how a mercen-
ary dealer sold it piece-meal. A portion of the few remainingleaves we have included in our pages. Schubert's manner of
life was too simple and retired to attract much attention. It
seems only too likely that few, if any, of his friends knew whata great man he was. Vogl could not have known it, or hewould not have laid a finger on his songs, whereas he altered
many of them ; Mayrhofer speaks of his own poems as a
source of inspiration, and does not seem to have realised howlittle these mattered in comparison with the settings, which will
hand them down to all posterity. Bauernfeld appears to havebeen a sponge. Two men there are, however, who stand out as
made of the stuff that goes to make a friend namely, Spaunand Schober. Both were practical men, and each as far as
ever he was able helped the impractical Schubert : Spaunfrom his earliest years ; Schober with continuous and affec-
229
Schubert
tionate regard. Schubert had a firm friend in his brother
Ferdinand, whose four short essays call for first notice.
Ferdinand Schubert's Essays. These appeared in Nos. 33-36(April 23-May 3, 1839) of the Neue Zeitschriftfur Musik, and
supply many useful and authentic details of the musician's life.
Ferdinand's knowledge of his brother's career was chieflyvaluable through its casting a light on his home and school
life, his industrious art-achievements, and his general successin the music world. It scarcely touches the social side of his
relations with men and things. Ferdinand was the custodianof his brother's MSS., and his list of the compositions, thoughnot complete, was invaluable to those who first laboured in thesame field.
Mayrhofer's"Erinnerungen," which appeared in Feb. 23,
1829, as a contribution to the Neues Archiv fur Geschichte,Literatur und Kunst (Vienna), is valuable because the writer
had lived with Schubert for a couple of years, and was alwaysmore or less in touch with him.
Bauernfeld's several essays supply useful information uponpoints untouched by the other writers. Bauernfeld, Schwindtand Schubert lived together in common (about the period1826), and one of the essays referred to (that in the ViennaPresse of April 17, 1869) serves well to display the unfortunateresults to Schubert of such Utopian schemes.
Ueber Franz Schubert. Bauernfeld, Wiener Zeitschrift,
June 9-13, 1829.
Articles, quoting 6 letters, etc. Bauernfeld, Freie Presse
(Vienna), April 17-21, 1869.The articles were reprinted in the Leipsic Signale in Nov.
15-28, 1869, and in Bauernfeld's "Gesammelte Schriften," vol.
xii., Vienna, 1873.Schindler's contributions to Schubert's bibliography are as
follows :
Bauerle's Wiener Theaterzeitung (an article in the numberfor May 3, 1831).This is valuable, because the writer describes what he
actually witnessed.
Niederrheinischer Musikzeitung (for 1857) also containsarticles by Schindler, bearing on the subject.
230
Appendix AFour Letters, Two Poems and a Dream were printed by
Robert Schumann in his Neue Zeitschrift fiir Musik, Feb.
1-5, 1839.It may be added that all the biographies of Beethoven
contain passing references to Schubert whose personal con-tact with the great master was, however, but slight.The following list further illustrates the sources whence
information concerning Schubert may be seen in its originalform :
Diary. Sofie Miiller, Vienna, 1832.
Unvergessenes. Frau von Chdzy, Leipsic, 1858.
Erinnerungen. W. von Chezy, Schaffhausen, 1863.Kiinstlerleben. Ferdinand Hiller, Cologne, 1880. This con-
tains a paper entitled" Vienna fifty-two years ago," which
describes the visit Hiller paid to Beethoven and Schubert in
1827, when he was travelling in company with his masterHummel.
F. Schubert, sa Vie, etc. H. Barbedette, Paris, 1866.
Articles on Schubert scattered in the writings of La Mara(Marie Lipsius), Otto Gumprecht, etc.
Biographisches Lexicon. Wurzbach (part xxxii. pp. 30-1 10).
Vienna, 1876.
Actenmassige Darstellung der Ausgrabung und Wieder-
beisetzung der irdischen Reste von Beethoven und Schubert.
Vienna, 1863.Vom Wiener Mannergesangverein. Festschrift zur Enthiil-
lung des Schubert Denkmales am 15 Mai, 1872.The above contains a sketch of Schubert's life, an account
of the unveiling of the statue in the Stadt Park, and muchinformation in brief compass.
Kreissle von Hellborn, Heinrich (Doctor Juris), may be
regarded as Schubert's principal biographer, as indeed he wasthe first. Kreissle was born in 1803, and in course of timebecame "
Imperial finance secretary" at Vienna, and a director
of the Gesellschaft der Musikfreunde. His first attempt at
a Schubert biography was in the form of a small octavo,
printed in 1861, at Vienna, under the title," F. Schubert, eine
biografische Skizze von Heinrich von Kreissle," which pre-
pared the way for his larger work on the same subject. The
231
Schubert
latter was issued by Gerold of Vienna, in octavo, 1865. Boththese works form the basis from which more modern writers
build up their narrative. They are distinct, the former con-
taining some material which does not re-appear in the largervolume. In spite of this, the later volume must be taken as
superseding the earlier. It is more than three times as longand is naturally a more mature presentment of the subject.
Following the custom of German biographers, Kreissle gives
pretty full accounts of all the characters met with in the
course of his story. There is perhaps more excuse for this
than usual, for the materials are unusually slight which directlyconcern the principal character. The biographer must in
such cases lay hold upon and gather up every straw which
may afterwards prove of use when he comes to weave his
narrative. This is what Kreissle has done, and whatever the
reader may think of it, there is no question but that future
biographers will be heartily obliged. The following passageseems to explain Kreissle's point of yiew :
" None can denythat, if a number of letters, diaries and other memoranda,ranging over a long period of the author's life, can be con-nected together as a whole, such things are admirably adaptedto widen and intensify our knowledge of the character andlife of the writer in question. . . . But very few of
Schubert's letters have up to this time become known. It
may be because he was not fond of letter-writing (of this,
however, no proof is forthcoming) ; or, again, his letters mayhave been lost or kept back, from a false shame and aversion
to their being seen by other eyes than those for whom theywere originally intended. . . . Whether Franz kept memor-anda ranging over a long period, I have not been able to
discover. Neither these short notices nor the letters arecalculated by the intrinsic worth of their contents to arrest
in any great degree the interest of the reader;for Schubert
was never wont to wear his heart upon his sleeve, even for
the inspection of his most trusted friends. Still, slender as
the resources are which illustrate but meagrely the existenceof Schubert, the biographer must be permitted to avail himselfof every help he can lay hold on, be it seemingly never so
trivial, and give the originals without curtailing a syllable, for
232
Appendix Athese authentic records invariably throw streaks of light onthe face of the individual whose portrait we are painting, let
alone the thought that small episodes of this kind break in
agreeably on the monotonous process of reckoning Schubert's
compositions a feature which will form the chief element in
the history of the composer's career."
So keeping all this in view, Kreissle puts together a most
interesting study, built up from slender grounds, but castinga steady light on the composer and his friends. True, the
letters from the music-publishers are too much in evidence ;
but they at least serve to show why Schubert remained in
comparative want during his last years. A list of the com-
poser's works fittingly closes this biography. The Englishtranslation is now to be considered.
Arthur Duke Coleridge, M.A., translated (in 1868) Kreissle's" Life of Schubert," which was issued in two octavo volumes
by Longmans, in 1869, with a dedication to Madame JennyLind Goldschmidt. As the work is now out of print, it maybe noticed here, apart from the original just dealt with.
"Weare now" says the translator, under date 1868 "beginningto realise the importance of his (Schubert's) music
;and if
(as many believe) a great future be in store for Schubert in
this country, let us acknowledge our obligations to the jointexertions of my friend Mr George Grove, and that admirablemusician Mr Manns, the conductor of the Crystal PalaceConcerts. Mr Charles Halle's efforts have also powerfullyaided the cause of Schubert's popularity ;
and Mr Arthur
Chappell, the director of the Monday Popular Concerts, hasbeen indefatigable in bringing forward his Quartets, Quintets,Octet, and others of his splendid chamber compositions."Mr Coleridge completed the chief part of his work without
knowing of Wilberforce's epitomised translation. A feature
of the book, which is an addition to the work as drawn from
Kreissle, will be found in the Appendix"by George Grove,
Esq." This part of the book contains a useful thematic
catalogue of Schubert's Nine Symphonies. The nine are
made up by including the sketch (afterwards finished by J. F.
Barnett) which came into Grove's possession through MrPaul Mendelssohn.
233
Schubert
I quote one breezy paragraph, which occurs on the final page :
" Good God, it makes one's blood boil to think of so fine
and rare a genius, one of the ten or twelve topmost men in
the world, in want of even the common necessaries of life.
Failure, disappointment, depreciation, and suchlike shocksand wounds of the heart and soul, these are the necessaryaccompaniments of a fine intellect and a sensitive heart ; butto want the ordinary comforts and amenities of life, to wantbread) it is too dreadful to think of. And yet such troubles
have been the lot of all the great men from David downwards ;
only Schubert's was peculiarly hard, for he had all the
struggles of youth and none of the repose of age."Sir George Grove's article
" Schubert " in his"Dictionary
of Music and Musicians" (vol. iii. p. 319) is, as would be ex-
pected from so able a writer, a masterly account of the life
and works of the composer. Sir George has always the true
instinct of a biographer, and though he is much handicappedby the limits imposed by a "
dictionary," he has produced anexcellent record of the life and works of Schubert. Grove hadthe inestimable advantage of being early on the scene. Theyears 1866-7 saw him at Vienna, busy collecting material whichafterwards became public property. He had to face all the
difficulties of a pioneer. The patient and accurate researchwhich he brought to bear on the subjects alike of Beethovenand Schubert, no less than the graphic pen which he had at
ready command, combine to place these two articles first, in
point of value, of the Dictionary. Nevertheless Grove had aweakness. He was not enough of a musician to be sure ot
his ground when tackling a technical point. For example,Grove (referring to Schubert) does not hesitate to set downsuch a statement as this :
" His vocal fugues are notoriouslyweak, and the symphonies rarely show those piquant fugatoswhich are so delightful in Beethoven and Mendelssohn." In
another place we read :
"counterpoint he was deficient in, but
the power of writing whatever he wanted he had absolutelyat his fingers' ends." The last-quoted sentence, though foundedon a misconception, is, in part, perfectly true. Schubert cer-
tainly had the "power of writing whatever he wanted," but
just as certainly was he not deficient in counterpoint. I have
234
Appendix Anot space to go into the matter at length, but it is worth point-
ing out that no quartet-writer, to be successful, can be deficient
in counterpoint. The fugues of Schubert are not his best
work. The fugue form probably had few attractions for him.
Those he has left are (mirabile dictu) not so much short ot
science as of inspiration. Take, for example, the fugue for
piano-duet (op. 152), written in Schubert's last year about the
period he thought of taking some contrapuntal lessons from
Sechter, as the tradition is an excellent little piece for playersof moderate ability, which is happily now available in Breitkopfs
edition (price i mark). Here, the fugue-subject is somewhat
commonplace, but the counterpoint is skilful enough. Modula-tion (as Grove truly says, always a strong feature with Schubert)makes its appearance towards the end, with marked effect.
But each repetition of the subject only emphasises its monotony.I think we are right in asserting Schubert did not like the fugueas a form of expression for his own utterances. Counterpointis a very different thing. No instrumental work can exist
without it, though most people have in mind the counterpointofthe schools, the counterpoint of choral-writing, or the counter-
point of Cherubini, Fux and the rest. What is counterpoint ?
There are two answers. One is that it is everything else but
the melody. The other answer is that it is melody. Bothmethods were tried by Schubert. His little fugue cited comesin the first category ;
the greater part of his music comes underthe second. The truth is that Schubert was one of the greatest
contrapuntists who ever lived. He could inspire his counter-
point, as old John Sebastian knew so well bow to do. It is
unnecessary to pursue the subject of Schubert's counterpointfurther, though the opinion contested is mischievous. Thereis such a healthy, manly tone in Sir George Grove's estimate
of Schubert, that one could wish to be able always to agreewith him. Whether Grove knew counterpoint or not when hesaw it, he undoubtedly recognised a man as soon as anyone,and his two articles on Beethoven and Schubert the con-
junction is a happy one have served and will continue to
help the English-speaking world to a better and nobler viewof the personality of these two extraordinary beings. Schubertwould seem to have been especially belittled by his eccentrici-
235
Schubert
ties in preferring simple and even common surroundings. Thesimple and common things of life have more poetry in themthan can have the imagined superior. The gold of the dande-lion is finer than the finest burnished reality. It touches ona truer thought beauty for its own sake, while the reality hasto be handled carefully.
" Auri sacra fames "(says the poet
of old),"quid non mortalia pectora cogis
";and although all
temptation is usually out of the poet's way, he is, none the
less, speaking the profoundest sense. Men like Schubert tried
to live a simple poetic life. The realities to such people are
found in the ideas of simplicity and naturalness. Class dis-
tinction doesn't exist for them, and they try (usually with hope-less results) to fulfil an unfettered destiny which the force of
their own genius would seek to impose. Beethoven was muchof Schubert's mind, but his own powerful character preventedhim from ever scorning the aids to independence. A patronwas a necessary evil ; he commanded one. A pension was anunavoidable necessity ; he accepted it. Poor Franz Schubertwas fighting all his life, with the weapons of heaven's ownforging, for a victory over difficulties which a plough or a spadesometimes achieves. Songs of his, sold for tenpence apiece,were worth a king's ransom. Grove has not neglected this
side of the picture, and all Schubert-lovers will be indebtedto him, as indeed is the composer's own memory. Sir George'stribute is well summed up in his remark,
" There never wasone like him, and there never will be another."
Franz Schubert a musical Biography by Edward Wilber-force (W. H. Allen & Co., 1866) is an eminently readablelittle book. Founded, as the author tells us, upon Kreissle's
larger work, it gives a real glimpse of the composer and his
habits. Wilberforce had the advantages and disadvantages of
being early on the scene. Kreissle had published his large" Life" in 1865, while the smaller one had already appeared in
1861. The translation of Mr Duke Coleridge was not printeduntil 1869. Wilberforce brings a sympathetic pen to deal
with his subject, but he would seem to be occasionally withoutcritical perception of much value. Thus we read on page 72
(speaking of the "Rossini-fever" of 1823), that "the effect it
had on Beethoven himself is much to be regretted ;he refused
236
Appendix Ato see Rossini, called him a scene-painter, and admitted
grudgingly that he would have been a good composer if hismaster had flogged him more." Then occurs the passagewhich, in our view, is absurd, thus :
"Schubert, however, had
even more cause to complain. With a facility second only to
Rossini's (as he had shown by the composition of his overturesin the Italian style), a power of melody, hardly second to him,and a natural turn for the opera, he found himself entirelyexcluded." We have, of course, had opportunities since 1866for a more correct view of the relative importance of Schubertand Rossini, so that the facility
"only second to Rossini's
"
and " a power of melody hardly second to him "will merely
make a modern musician smile. Without agreeing withthose who view Rossini as a charlatan, one can admire the
exquisite ridicule of his French biographer, who exclaimed,"Non, vous n'avez pas le feu celeste. You bargain for
asparagus." Not the least interesting feature of Wilberforce'sbook is the essay on "Musical Biography" which is given in
an appendix. It is full of sound sense.
Franz Schubert. Reissmann, Berlin, 1873. This excellent
little book has fallen out of print, like several other of the booksmentioned in our list. Reissmann's selection of examples was
unusually attractive, and included five pieces then printed for
the first time, and a facsimile page. The illustrations givetwelve pages of the Quintet-Overture, and among other thingsthat charming little piece for pianoforte for performance duringthe recitation of Pratobevera's poem
" Die Falke."
The Great Tone Poets, by Frederick J. Crowest (Bentley,
1874), includes a chapter on Franz Schubert.Life of Schubert (a sketch comprising 100 pp. German
text), by A. Niggli, 1880, Breitkopf & Haertel, is well worth
reading.Schubert, by H. F. Frost (edited by Francis Hueffer in the
"Great Musicians" series, Sampson Low, 1881), like the
work above-mentioned, is a marvel of completeness, seeing
only 1 20 pp. are offered.
Franz Schubert, a sketch by Ernst Pauer, is prefixed to
Messrs Augener's edition of Schubert's Pianoforte Sonatas.The story is well told and well illustrated.
237
Schubert
Beitrage, Dr Max Friedlander, Berlin, 1883, contains muchadmirable material.
Naumann's "History of Music "(Cassell, 1886) includes a
short paper on Schubert, and three facsimiles.The Musical Times of 1886 (Jan. to Sept.) contains a short
and well-written account of the master's career.
The Art-Ballad, by Albert B. Bach (W. Blackwood, 1890),
gives an interesting study of Schubert and Lowe, a clever
comparison, which helps towards a better understanding of
each.Makers of Music, by Mr A. Farquharson Sharp (W. Reeves,
1901), contains a careful and critical estimate of Schubert'slife and work.Old Scores and New Readings, by John F. Runciman
(Unicorn Press, London, 1901), proves clearly enough that the
writer had unbounded admiration for his Schubert.Article in Encyclopaedia Britannica, vol. xxi. p. 458.Articlein Chambers's Encyclopaedia, by Mr HarryWhitehead.Schubert's Masses. E. Prout, Musical Record, 1871, and
Concordia, 1875. An important series of critical articles bythis distinguished musician and writer. Schubert's instrumenta-
tion, it may be added, is commented upon in the same writer's
"Instrumentation" primer (Novello) and "The Orchestra"
(Augener). Authoritative information on such matters is the
more necessary when writers like Berlioz pass over Schubert'suse of the orchestra.
The Musical Record of Feb. i, 1897, contains an excellent
article on Franz Schubert.The Musical Times contains:
Schubertiana, Aug. 1893.Franz Schubert, Jan. 1897.Schubert's Music in England, Feb. 1897.Schubert and British Poets, Oct. 1901.Schubert's 23rd Psalm, Sept. 1901 (with a facsimile page).
The Oxford History of Music. Vol. v. The ViennesePeriod. By W. H. Hadow. 1904.
238
Appendix B
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Appendix C
1797. Franz Schubert born.
1800-4. Taught music by his father.
1804-6. Franz becomes a pupil of Holzer.
1807. Appointed soprano at Lichtenthal parish church.
1808. Entered Imperial Convict School.
1809. Napoleon signed treaty of peace at Vienna.1810. Date of Schubert's " Phantasie" (4 hands).1811. Date of String-quartet and "
Hagar's Klage."1812. Schubert's mother died.
1813. Schubert leaves the Convict.
1814. Became elementary teacher in his father's school.
1815. Wrote the "Erl-king."
1 8 1 6. Salieri's j ubilee.
1817. Rossini in Vienna.1818. Schubert became teacher to Count Esterhazy.1819. Schubert visits upper Austria.
1820. Two operettas produced this year.1821. The "
Erl-king*published.
1822. Schubert meets Weber.
1823. Schubert wrote " Fierrabras" and " Rosamunde."
1824. Love affair at Zele"sz.
1825. Five months holiday with Vogl.1826. Lived with Bauernfeld and Schwindt.
1827. Visited Beethoven's sick-bed.
1828. Wrote Symphony in C. Died November 19.
254
Appendix D
Schubert Personalia and Memoranda
Barbaja (Domenico), b. Milan 1778. First a waiter, afterwards
circus-proprietor and finally the most popular of operatic
managers. From 1821-5 he was manager of the twochief houses in Vienna the Karnthnerthor theatre andthe An der Wien, where he introduced Rossini andWeber. Schubert was neglected. Among other of his
numerous theatrical undertakings, Barbaja managed theSan Carlo (Naples) and La Scala (Milan).
Bauernfeld (Eduard), b. at Vienna 1804. Studied Law duringtime of his acquaintance with Schubert. Was employedin the Diplomatic service 1826-1848. Shared rooms in
common with Schubert and Schwindt in 1826. Con-tributed several papers of reminiscences of Schubert.
Beethoven (Ludwig van), 1770-1827. Schubert and Beethoven
only became really acquainted during Beethoven's last
illness. Schubert is said (by Kreissle) to have been oneof the thirty-eight
" torch-bearers"at Beethoven's funeral.
Boieldieu (Francois Adrien), b. at Rouen 1775 ; d. 1834 nearParis. One of the most distinguished of the Frenchcomic opera composers. "La Dame blanche" is his
finest work.Castelli (Ignaz Friedrich), b. at Vienna 1781 ;
d. 1854. Germandramatist ; wrote books for Weigl's
" Swiss family,"Schubert's
"Verschworenen," and adapted
" Les Hugue-nots "
(Meyerbeer). Founder and editor of "Allgemeiner
musikalischer Anzeiger." (1829-40).
255
Schubert
Cherubini (Maria Luigi Carlo Zenobi Salvatore), b. at Florence
1760 ;d. 1842. His " MedeV' and " Deux Journe'es
"still
keep their hold on the German public. Beethoven termedhim " the most admirable of living composers."
Che'zy (Wilhelmine or Helmine Christine von), nte vonKlencke, b. 1783 at Berlin, married de Che'zy the orientalist.
She is the librettist of Schubert's " Rosamunde " andWeber's "Euryanthe." Her "
Unvergessenes"
(Leipsic1858) and the "
Erinnerungen" of her son W. yon Che'zy
(Schaflfhausen 1863) contain much gossip concerningSchubert.
Claudius (Matthias), 1740-1815. German poet, and author of
many popular songs, which appear under the collective
title of "The Wandsbeck Messenger." Schubert set
eleven of his lyrics.
Craigher (Jac. Nic.). Author of the fine ballad " Die jungeNonne" and translator of Colley Gibber's "Blind boy"Der blinde Knabe. (1825).
Cureton, William D. D. (1808-1864). Orientalist, b. at Westbury,Shropshire. Became Assistant-keeper of MSS., British
Museum. Rector of St Margaret's, Westminster, andCanon of Westminster. Created F.R.S. He found at
the Monastery St Mary Deipara (in the desert of Nitria)near Cairo, the Epistles of St Ignatius to St Polycarp,
Ephesians, and the Romans in ancient Syriac. These heedited with English translation, and notes.
Diabelli (Anton), 1781-1858. Composer of pianoforte music of
an easy kind, and of church music popular in its day.Beethoven took a waltz of Diabelli's as the theme for
the thirty-three variations (op. 120). Diabelli joinedPeter Cappi in 1812 as a music publisher. It becameDiabelli & Co. in 1824. The firm absorbed the followingwell-known businesses : Artaria, Weigl, Berka, Leides-
dorf, Pennauer, Traeg, and (later) Mecchetti. In 1852it changed to C. A. Spina and in 1872 to F. Schreiber.
under which name it was carried on by Mr A Cranz, whopurchased it in 1876. The old firm of Diabelli publishedfor Schubert, Czerny, Strauss and Lanner, Marpurg,Sechter, and Reicha.
256
Appendix DDietrichstein (Count Josef Carl). Curator of the Convict School,
when Schubert was a pupil.Dietrichstein (Count Moritz) had charge of the Vienna Court
music. Called by Beethoven "Hofmusikgraf." In 1821
wrote a testimonial for Schubert, in which he shows
penetration speaking of " Schubert's particular genius for
dramatic music" an opinion new at the time. "TheErl-king
"is dedicated to him.
Doppler (Josef). Foreman and chief manager of C. A. Spina's
publishing business in Vienna. Played the bassoon in
the orchestra that grew up from the Schubert household
quartet. Was present at the christening ceremony of
Schubert, of whom he has left on record many valuable
personal reminiscences. "I shall never forget the droll
shock "(says Grove)
" which I received on asking Doppler(in 1867) if he knew Schubert. 'Know him,' was the
reply ;
'I was present at his baptism.'
"
Draxler (Philipp). A Vienna official who wrote the libretto of
Schubert's cantata "Prometheus" (1816) which was lost
in 1828. The work (a favourite with its composer) is
for solo, chorus, and orchestra.
Duport the Manager (or administrator) of the Karnthnerthor
theatre, Vienna, in 1826, when Schubert applied for the
post of Conductor.Ebner (Leopold). One of the contemporary scholars at the
Convict with Schubert.
Esterhazy (Count Johann Carl). Head of a musical family whichincluded the Countess and Caroline (both altos) andMarie, the possessor of an exquisite high soprano voice.
Schubert taught the several members (at two gulden a
lesson) both in Vienna and atZele'sz (Hungary). He wasfurther regarded as a friend.
Eybler(Josef), b.i764 ;d. 1846. A pupil of Albrechtsberger, was
successively appointed"regius chori "
(Carmelite church,Vienna) Imperial music-teacher and in 1825 full Capell-meister.
Ewer & Co. A firm of music publishers established by John J.
Ewer in 1820, at Bow Churchyard, London. Merged in
Novello, Ewer & Co,, 1867. The original Ewer & Co.,
R 257
Schubert
were almost the only foreign music importers of their
day.
Fouque (Friedrich Heinrich Karl, Baron de la Motte), 1777-
1843. Popular German author. Schubert set Fouque's"Gebet," at the request of Countess Esterhazy, as a vocal
quartet, in the course of one day. (Op. 139.) Five of theLieder are by this writer.
Friedlander (Dr Max), b. 1852. Baritone singer edited new col-
lections of Schubert's songs with Peters. Author of
"Beitrage" (1883), etc.
Fries (Reichsgraf Moritz von). An influential supporter of
Schubert's, to whom he dedicated his op.2," Gretchen am
Spinnrade," receiving (as is noted in a letter of 1822)the sum of twenty ducats,
" a fact"(says he)
" which suits
me extremely well."
FrBhlich. There were four sisters of this name. Nanette, 1793,a pupil of Hummel, taught singing in the Vienna Conser-vatoire. She induced Schubert to set Psalm xxiii. andMiriam's Song, among other pieces. (2) Barbaramarried Ferdinand Bogner an eminent flute-player. Shewas a good contralto. (3) Josefine became a distin-
guished concert-singer, d. 1878. (4) Katharina("Kathi"),1800-79, was" the intimate friend of Grillparzer, the greatAustrian poet, who resided with the sisters most of his
life.
Fiihrer (Robert), b. at Prague, 1807. Organist and composer.He won a good reputation as a composer. In 1846 he
very foolishly published Schubert's Mass in G (withMarco Berra of Prague) as his own composition a fraud
by which he bids fair to be chiefly remembered ;so true
it is that
" The evil that men do lives after them;
The good is oft interred with their bones."
Fiihrer died in great^distress in a Vienna hospital in 1861.
Gahy (Josef)- An amateur pianist of considerable skill whoplayed duets with Schubert (arrangements of the latter's
works and the symphonies of Beethoven), d. 1864.Gansbacher (Johann), 1788-1844. Pupil of Vogler with Weber
258
Appendix Dand Meyerbeer. Became Capellmeister of ViennaCathedral in 1823, and held the appointment until his
death.
Closer (Franz), 1792-1861. Operatic composer. BecameCapellmeister of the Leopoldstadt theatre, in 1826, after-
wards proceeding to Berlin and Copenhagen, where he hadsimilar appointments.
Gluck (Christoph Willibald Ritter von), 1714-1787. Wrotemuch in conjunction with Metastasio. His best works arethe " Orfeo " and "
Iphigenia in Tauris " and " Alceste "
operas which still hold their own. Marie Antoinette wasat one time a pupil of Gluck.
Goethe (Johann Wolfgang von), 1749-1832. The supreme im-
portance of Goethe to the song- renaissance whichSchubert brought about is well shown by the fact thatSchubert set no less than 70 of the poet's songs alone.
1797 was Goethe's great ballad year ; the musician's was1815. The earliest pieces of Goethe which were set tomusic seem to have been twenty little songs, with prettymusic by Bernard Theodor Breitkopf of the publishingfamily, entitled "
Jungenlieder" (1769). Zelter set overroo of Goethe's poems, Reichardt some 60. The "Erl-
king" has obtained 39 distinct settings.
Grillparzer (Franz), 1791-1872. Dramatist and poet, born at
Vienna. "Sappho
"is one of his best works. He also
wrote " Der Spielmann" a story of a musician's life.
His dramatic works revived by Heinrich Laube at theCourt Theatre, Vienna, in 1849 suddenly made him themost popular writer in Germany. Grillparzer wroteSchubert's epitaph.
Grob (Therese), b. 1800. Daughter of a Vienna silk-factor.
She belonged to a musical family with which Schubertwas on very friendly terms. She possessed a fine highsoprano voice, and sang in the first performance ofSchubert's Mass in F. Schubert also wrote a " Tantumergo
" and a " Salve Regina"for her.
Grove (Sir George), b. at Clapham, 1820. Civil Engineer ; for
fifteen years editor of Macmillarts Magazine ; SecretaryCrystal Palace, 1852. Editor of "
Dictionary of Music and
259
Schubert
Musicians" (1879-89) director R.C.M. 1883 knighted the
same year retired 1894 ;d. May 1901.
Gyrowetz (Adalbert), 1763-1850. A Bohemian law student,and afterwards composer and "
Operncapellmeister"
at Vienna. Enjoyed much popularity, and retired ona pension.
Harrach (Count). Hofmusikgraf, with whom the candidates (ofwhich Schubert was one) had to deal, when competing for
Vice-Hofcapellmeistership in 1826.
Haslinger (Tobias), b. 1787 (in Upper Austria), d. at Vienna,1842. Chief of a well-known music firm which gaineddistinction through being in touch with Beethoven andSchubert.
Hauer (Dr Josef). Pupil of the Convict School in 1816. In
later life Schubert invited him to join in studying Handel'sworks.
Haydn (Joseph), 1732-1809. The great composer.Haydn (Michael), 1737-1806. Brother of preceding and an
estimable church composer.Herbeck (Johann), 1831-1877. Court Capellmeister at Vienna,
Director of the Court opera, etc.
Himmel (Friedrich Heinrich), b. 1765. Succeeded Reichardt as
Court-Capellmeister at Berlin 1794. Died at Berlin 1814.
Hofmann, Secretary of the Karnthnerthor theatre, wrote twolibrettos for Schubert ; namely
" Die Zwillingsbriider"
(produced June 14, 1820) and "Die Zauberharfe" (pro-duced Aug. 19, 1820).
Hb'lty, Ludwig, Heinrich, Christoph (1748-1776). One of the
most popular German poets, and a principal founder of
the famous poetical brotherhood known as the " Hain-bund." Holty is represented by twenty-two songs of
Schubert's setting.Holz (Karl), 1798-1858. Violinist. In 1824 became a member
of Schuppanzigh's Quartet.
Holzapfel (Anton). The oldest of Schubert's school-friends at
the Convict. A good tenor singer and 'cello player. He(like Randhartinger) is credited with being the pupil whofirst sang the "
Erl-king" at the Convict.
Holzer, Michael. Choirmaster of the Lichtenthal parish church
260
Appendix D(Vienna) and first teacher of music to Schubert, whom he
long outlived.
Hummel (Johann Nepomuk), b. at Pressburg, 1778 ; d. at
Weimar, 1837. Pianist and composer. Pupil of Haydnand Salieri. Capellmeister to Prince Esterhazy (1804-11).
Hiittenbrenner (Anton), b. 1794. A prolific composer, editor,etc.
Hiittenbrenner (Heinrich), wrote words of "Der Jungling"(op. 8. no. i).
Hiittenbrenner (Josef). The third brother, an amateur whoserved Schubert with great fidelity, making duet-arrange-ments, correcting proofs, and looking after his business
arrangements.Isouard (Nicolo), 1775-1818, b. at Malta. A clever operatic
composer. Of his thirty-three operas written in sixteen
years, one, in an English version (by Mr Santley), reachedLondon.
Jager. A singer who on February 28, 1819, sang Schubert's" Schafers Klagelied," (perhaps) his first piece publiclyperformed. The concert was given by Jaell.
Jaell (Eduard). A violinist who gave a concert at the"Romische Kaiser," Vienna, where Jager sang a Schu-bert song, for the first time in public.
Jenger (Johann Baptist), b. at Breisgau. Held a military
appointment at Gratz. Became a great friend ofSchubert with whom he often played duets, taking thebass ; d. at Vienna, 1855.
Kenner (Josef). School friend of Schubert at the Convict,before 1816. Several of his verses were set to music
by the composer.Kiesewetter (Irene, afterwards Mad. Prokesch v. Osten)
daughter of Schubert's friend the " Hofrath." Schubertwrote an Italian cantata, "Alia bella Irene," December26, 1827.
Kinsky (Princess). A note, under date 1827, shows that
Schubert visited at her house.Kleindl. A schoolmate of Schubert at the Convict. He
became Rath of the supreme court of Vienna.
Klopstock (Friedrich Gottlieb), 1724-1803. German poet.
261
Schubert
Author of "The Messiah," an epic poem. Schubert set
nineteen of his poems.Kbrner (Karl, Theodor), 1791-1813, b. at Dresden. Through
his parents, was intimate with Goethe and Schiller. In
1813 he wrote Der vierjahrige Posten, afterwards set as
a Singspiel in one act by Schubert (1815). The poemsLeyer und Schwert, sung to old national melodies roundthe camp-fires at night, made Lutzow's Free-corps (ofwhich Korner was a member) an enthusiastic band of
soldiers, almost irresistible in their ardour. Shot by achance bullet, while pursuing the French, betweenGadebusch and Schwerin. (August 26, 1813.) Schubertwrote the music for sixteen of Korner's poems.
Kbrner. The singing master at the Convict in 1808, anddoubtless the same who held the appointment of CourtTenor until 1826, when we read of his beginning to
fail.
Kotzebue (August Friedrich Ferdinand von), 1761-1819, b.
at Weimar. Dramatist. Obtained an appointment at
St Petersburg. Arrested and sent to Siberia in 1800.
A comedy secured his return, when he received the
directorship of the German theatre at St Petersburg.Schubert set several of his operatic books.
Kozeluch (Leopold), 1754-1811. Bohemian composer of somethirty symphonies. There is a story of Kozeluch remark-
ing to Mozart, when trying through a new quartet byHaydn,
"I should not have written that so."
" Neithershould I," answered Mozart " and do you know why ;
because the thought could never by any chance haveoccurred to either of us." Mozart made an enemy.
Krebs (Karl Augustus). Conductor of the Court Theatre,Vienna, until 1826, when he removed to Hamburg. Fatherof Miss Marie Krebs, the pianist.
Kreissle von Hellborn (Heinrich), 1803-1869. Schubert's
principal biographer. His two books are noticed in
Appendix" A." Kreissle became a Doctor in Laws, and
Imperial Finance Secretary, Vienna. He was also oneof the managing members of the
" Gesellschaft derMusik-freunde." His books have been reproduced in
262
Appendix DEnglish and French, and form the groundwork of all
Schubert biography.Kreutzer, 1782-1849. Became Hof-theater-Capellmeister,
under Barbaja's management. Afterwards succeeded to
the post of Capellmeister to the Josefstadt theatre.
Finally removed to Cologne, and Riga, where he died.
Krommer, 1759-1831. Composer of Military music,
symphonies, and (strange to say) of quartets and quintetsfor flutes. Schubert, as a student at the Convict, usedto laugh at his symphonies, preferring those of Kozeluch.
Kupelwieser (Leopold), b. at Fisting, Austria, 1796. Becameprofessor and Imperial Rath at the Kunstakademie,Vienna ;
d. in 1862. He was a great friend of Schubert.
Kupelwieser's sketch of Schubert was engraved for
Kreissle's frontispiece to the biography.Kupelwieser (Josef), brother of preceding. Compiler of
Schubert's opera-book for"Fierrabras."
Lablache, Luigi (1794-1858), b. at Naples. His mother wasIrish. Perhaps the finest bass ever known, his voicecovered two octaves from E-flat below the stave and
upwards. Sang as a child at Haydn's funeral. Sang in
Mozart's Requiem at Beethoven's funeral, and also actedas one of the torch-bearers, in company with Schubert.To Lablache, Schubert dedicated his three settings of
Metastasio's (Italian) songs. These were written in 1827,and form opus 83.
Lachner (Franz), 1804-1890. A pupil of Stadler and Sechter.
Became an inseparable companion of Schubert in the
tatter's last few years. Apart from his own compositionshe is remembered for having orchestrated Schubert's"Song of Miriam."
Lascny. Herr Lascny, an Hungarian landowner, and his wife,an accomplished singer, kept open house to Schubert andhis friends. Here Lablache was to be heard (he tooksecond bass in Schubert's
" Gondelfahrer ") ; here too,Hummel extemporised on Schubert's " Der blindeKnabe."
Lang (Dr Innocenz), Director of the Convict School duringSchubert's pupilage. The first symphony (Schubert) was
263
Schubert
written for the name-day festival of Dr Lang, beingperformed by the pupils in 1813.
Leidesdorf (Max Josef), 1785-1840. A picture-dealer and music-seller of Vienna. Intimate with Beethoven, who refers
to him as " Dorf des Leides," (village of sorrow), andafterwards with Schubert. (See Diabelli). Leidesdorf
finally established himself in Florence.Leitner (Gottfried Ritter von). Poet. Met the Pachlers in
1825, where Schubert became acquainted with him,setting eight of his poems to music.
Lenz (Wilhelm). Biographer of Beethoven. He is responsiblefor the view that Beethoven and Schubert were pur-
posely kept apart by the misrepresentations of mutual
acquaintance.Lincke (Joseph), eminent 'cello-player and composer (1783-
J837) was a member of the Rasoumowsky quartetand played under Beethoven's supervision.
Liszt (Franz), 1811-1886, produced Schubert's "Alfonso undEstrella," at Weimar, June 24, 1854. He transcribedno fewer than fifty-seven of Schubert's songs, and by his
arrangements no less than his playing, bore a large partin establishing Schubert's reputation.
Manns (August Friedrich), b. at Stolzenburg, North Germany,March 12, 1825. Came to England 1854, for opening of
Crystal Palace. Became conductor of the Crystal PalaceOrchestra in 1855. Manns encouraged the productionof native composition in an unprecedented manner.He has conducted seven triennial Handel Festivals.
Received the honour of knighthood in 1903. One of
the foremost to make Schubert's works known in
England.Mayrhofer (Johann), 1787-1836. Austrian poet and a close
friend of Schubert, who set forty-seven of his songs andtwo opera-librettos to music. Mayrhofer and he lived
together for some years. After the musician's death,
Mayrhofer, who was employed as an officer of theAustrian censorship, suffered from deep melancholy, andended by throwing himself in the Danube.
Mehul (Etienne Henri), 1763-1817, produced twenty-four operas
264
Appendix Din seventeen years. The famous " Chant du Depart
"is
Mdhul's composition.Mendelssohn (Felix Mendelssohn Bartholdy), 1809-1847.
Mendelssohn produced for the first time Schubert's
great Symphony in C-major, at the Leipzig Gewandhausconcerts, on March 21, 1839.
Merveldt Foundation provided free scholarships, with boardand education, for scholars of the Convict who, havingpassed the proper examinations, were recommended for
the same. Schubert, acting on Theodor Korner's advice,refused to enter the examinations.
Metastasio the assumed name of Pietro Trapassi (1698-1782).Italian poet, librettist and translator of the "
Iliad."
Metastasio was a great friend of Farinelli the famous
singer. He lived in Vienna for some years (in 1830).Eleven poems were set by Schubert.
Milder (Anna), 1785-1838, born at Constantinople. Married
Hauptmann, a jeweller. Cherubini wrote his" Faniska "
and Beethoven his" Fidelio" for her voice. Milder sang
to Goethe in 1823 some settings which moved the poetprobably including some of Schubert's songs.
" Hirt aufdem Felsen " was specially written for Milder-Hauptmann.
Mozart (Wolfgang Amadeus), 1756-1791. The great composer.Mosel (Ignaz Franz), 1772-1844. A Vienna diplomatist and
clever amateur composer. In 1821 he was vice-director
of the Royal opera house.Mfiller (Sofie). A famous actress, who came to Vienna in 1824.
Jenger, Vogl and Schubert often visited her in 1825.Madame Miiller sang
" Die junge Nonne "at sight, at
one of these meetings. Her diary was published. Shedied in 1830.
Mfa'ller (Wilhelm), 1794-1827, b. at Dessau. Father of MaxMiiller the Philologist. Wilhelm served as a volunteer in
the Prussian army through the battles of Lutzen, Bautzen,etc., and the occupation of the Netherlands. Schubert set
forty-five of his songs to music.
Napoleon (Buonaparte), 1769-1821. Vienna twice fell into
Napoleon's hands, namely in 1805 and in 1809. Duringthe latter year he took up his residence in Vienna, where
265
Schubert
magnificent reviews daily took place. There he celebratedhis birthday (August I5th, 1809). Deposed (1814-15).
Neefe (Hermann). Scene-painter, son of Gottlieb Neefe,Beethoven's teacher in Bonn.
Neumann (Professor Johann Phillip), writer of the book for
the opera "Sakuntala" (1820) and compiler of the wordsof the " Deutsche Mass."
Niemeyer (A. H.), b. at Halle. Professor of theology andafterwards Chancellor of the Hochschule in Halle. Hissacred poem
" The Feast of the Resurrection "supplies
the words for Schubert's oratorio "Lazarus." D. 1828.
Nourrit (Adolphe), tenor singer, b. at Paris, 1802. Sang muchin Rossini's operas. Popularised Schubert's songs in
France. Committed suicide in 1839. The "Erl-king"and " Die Junge Nonne" were among his songs.
Pachler (Dr Carl) advocate at Gratz. His wife, remarkablefor her musical ability and beauty, attracted much societyto their house. Schubert, Teltscher and Schonstein
commonly stayed with the family.
Palffy (Count Ferdinand von). Proprietor of the Imperialtheatre " An der Wien."
Parry (Sir Charles Hubert Hastings, Bart.), b. 1848. Dis-
tinguished English composer. Professor of Music, Oxford
University ;Director of The Royal College of Music.
His books and papers on music are of the highest orderof merit.
Paumgartner (Silvester), a person of importance at Steyr in
1819. Vogl and Schubert more than once quarteredthemselves on the good-natured citizen, who died in 1841.
Philharmonic Society (London), founded 1813. Schubert
though taken up by Mendelssohn in 1839 was not repre-sented at the Philharmonic, until 1867, when W. G. Cusinsconducted the B-minor Symphony. Distinguished visitors
of the past have included Cherubini, Spohr, Weber,Mendelssohn, Wagner and all the principal performers.
Piazza. (Lucca). A costumier of the Theatre an der Wien, in
1820.
Pichler (Caroline). Schubert set three of her poems to music.Pinterics (Carl). Private secretary (to Count Palffy) and an
266
Appendix Daccomplished pianoforte player. Friend of Schubert andBeethoven.
Pohl (Carl Ferdinand), b. at Darmstadt, 1819. Biographer of
Mozart and Haydn. D. at Vienna, 1887.Probst. A publisher in Leipsic (predecessor of Senff) who
served both Schubert and Beethoven.
Pyrker (Ladislaus), Patriarch of Venice. Much esteemed as a
poet. Schubert set his" Die Allmacht," and dedicated
"Der Wanderer" and other pieces to him. Schubertmentions with gratitude having received a gift of 12
ducats (,6) from the Patriarch in 1822.
Quarterly Musical Magazine and Review. The first Englishjournal devoting itself to music. Projected and edited byRichard M. Bacon, a Norwich man, who carried his papersuccessfully forward for some ten years. Beethoven wastreated with suspicion, while Schubert was not sufficiently
important to attract much notice.
Randhartinger (Benedict), 1802-1893. A fellow student withSchubert at the Stadtconvikt during the year 1812-13.He had a good tenor voice, and in 1832 sang in the court
chapel. Thirty years later he became conductor at the
same church.
Rasoumowsky (Andreas Kyrillovitsch), 1752-1816 (?), son of aRussian peasant. In 1815 attained the rank of prince.His famous string quartet (which is also known as the
Beethoven quartet) was founded in 1808 with Schuppanzigh,Rasoumowsky, Weiss and Lincke. The Prince pensionedthe three players in 1815, and Schuppanzigh (with Sina as
his second player) continued the quartet-playing for manyyears afterwards.
Reichardt (Johann Friedrich) b. at Konigsberg, 1752.
Appointed in 1776 as Capellmeister and court-composerto Frederick the Great, at Berlin. Visited England in
1785. Dismissed from his Berlin appointment 1794.Reichardt was an able critic and writer on music
;his
programme-annotations are in all probability the first.
Some of his settings of Goethe's songs, sixty of which are
printed, are deservedly held in respect.Rellstab (Heinrich Friedrich Ludvig), 1799-1860. Trained as a
267
Schubert
musician ; but devoted himself to literature. Wrote for
Schubert and Mendelssohn.Richter (Jean Paul), 1 763- 1 825. The poet was greatly attracted
by Schubert's genius, and (says Kreissle) "found in his
declining years of blind old age, a consolation in Schu-bert's Lieder, and asked for the
'
Erl-king' a few hours
only before his death."
Rinna (Dr von), Court Physician at Vienna in 1828, whoadvised Schubert in his last illness to remove to
the Wieden suburb of the city. (Ferdinand's new
quarters.)Rochlitz (Freidrich von) came to Vienna in 1 822, in order to
see Beethoven. He met Schubert during this visit ;and
in 1827 we find him approaching the latter with a view to
his setting the poem" Der erste Ton," which was never
done.Roller. Master of the machinery at the imperial theatre an-
der-Wien, in 1820.
Rosetti (Francesco Antonio), the assumed name of FranzAnton Rossler (1750-1792), Court Capellmeister at
Schwerin. He composed 19 symphonies, and manyquartets, concertos and oratorios.
Rossini (Gioacchino Antonio), 1792-1868. Schubert rightly de-
scribed this remarkable person as a " rare genius." Others,such as Beethoven, disliked his music, while Berlioz wouldhave cheerfully burnt the fifty Rossini-operas. Timereconciles violent opinions.
Ruczizca ( Wenzel), 1758-1823. Violinist at the Hofburg theatre,Vienna. Court organist in 1793. He first put into
shape the famous Rakoczy march. Schubert studied
harmony and composition with Ruczizca, before takingregular lessons from Salieri.
St Anna School, where Schubert studied, 1813-14, to qualifyas a teacher for his father's school. Ferdinand ten yearslater became master, and, in 1851, Director of the St AnnaSchool, Vienna.
Salieri (Antonio), 1750-1825. As composer and theorist Salieri
was an important personage in his time. Settled in
Vienna as early as 1766. Became Court Capellmeister
268
Appendix Dand composer in 1788. Both Beethoven and Schubert were
proud to declare themselves his pupils. At his jubilee(Vienna, 1816) a cantata of Schubert's, specially com-posed, was produced under the composer's direction.
Gluck was an early patron of Salieri, who is said to have
intrigued against Mozart, but to have also befriendedhis son.
Schaufl (Jacob), received (in 1816) on the recommendation ofSalieri the appointment of principal teacher at the NormalInstitute of Music, in Laibach, for which Schubert hadoffered himself.
Schechner (Nanette), born at Munich, 1806, and became oneofthe first singers in Germany. A pupil of Weber. Sangmuch in Italian opera, and afterwards in German. Arival of Sonntag. Quitted the stage in 1835. MarriedHerr Waagen in 1832. Died in 1860. Her part in thetransaction which lost Schubert the conductorship of theKarnthnerthor theatre does not seem to be in any degreeblameworthy, though the results were unfortunate.
Schellmann. Ontwo occasions Schubert visited the Schellmanns,resident at Steyr (Upper Austria). Dr Schellmann's
family numbered five daughters, and in the same house,on the upper floor, were the District-treasurer and his
three daughters. The party is alluded to by Schubertas " the eight Schellmann girls."
Schiller (John Christoph Friedrich), 1759-1805. Schubert set
forty-two of Schiller's poems.Schlegel (Friedrich), 1772-1829. Famous chiefly as an historian
of literature. Married a daugher of Moses Mendelssohn.
SchlegePs son became a celebrated painter.
Schlegel (August Wilhelm von), brother of the precedingGerman poet, critic and translator. His Shakespearetranslations were afterwards revised and continued byTieck.
Schneider (Dr Eduard), Schubert's MSS. came into the handsof Dr Schneider, nephew of the composer, who practisedas a barrister, living in the Tuchlauben, Vienna. (1867).
Schober (Franz von), b. in Sweden, 1798, famous as an Austrian
poet. Became one of Schubert's most intimate friends.
269
Schubert
Schober wrote the libretto of "Alfonso und Estrella"and fifteen poems which Schubert set to music.
Schroeder-Devrient (Wilhelmine), 1804-1860. A dramatic
soprano of extraordinary reputation in her day ; took
leading roles in operas of Mozart, Beethoven, Weber andWagner.
Schubert (Ferdinand), an elder brother of Franz, born 1794.
Joined his father as assistant-teacher, and finally Directorof the Normal School of St Anna, Vienna. Some churchmusic by Ferdinand is printed, but his school-books,some twelve of which came into use, and his connectionwith the Bell- Lancastrian teaching method gained himprominence. Died 1859.
Schubert (Franz, the elder), son of a Moravian peasant. Cameto Vienna, 1784 ; he kept school in the Himmelfortgrund.Afterwards appointed to the Rossau parish school.
Schubert (Ignaz), the eldest son of the preceding, was also aschool master. His letters show him much attached to
his brother the composer, and something of a sceptic,much averse to his teaching business. D. 1844.
Schubert (Therese), sister of the composer. Married Matthias
Schneider, a professor at the Imperial Institute of Orphans(Vienna).
Schulz (Johann Abraham Peter), 1747-1800. An early Germansong-writer who forms an important link in the chain of
song composers who led up to Schubert.
Schuppanzigh (Ignaz) b. at Vienna, 1776. Founder of thefamous Rasoumowsky Quartet (q. v.) d. 1830.
Schwindt (Moritz von) 1804-1871. A painter of the Romantic
school, born at Vienna. A close friend of Schubert, someof whose songs he illustrated. Executed designs in con-
junction with Schnorr for the stained glass windows of
Glasgow Cathedral. In 1857 Schwindt visited Englandto officially report to King Louis on the Manchester art-
treasures.
Scott (Sir Walter), 1771-1832. Scott's connection withSchubert is two-fold
; several of his poems were set (in
translation) to music such as the famous " Ave Maria ;"the poet also rendered the "Erl-king" in English.
270
Appendix DSechter (Simon), 1788-1867. A famous theorist and professor
of Counterpoint, with whom Schubert intended to study,in his last year. Sechter's pupils included Thai-
berg, Bruckner Nottebohm, Vieuxtemps, Pauer andPohl.
Sehnsucht (' Longing' or '
Yearning ') a song occurring in BookIV., chapter XI. of Goethe's "Wilhelm Meister." It
begins" Nur wer die Sehnsucht kennt." Beethoven set
it four times for voice and piano. Schubert has left somesix settings songs and versions for five men's voices,and as a duet for Mignon and the Harper. It was the
last-named form that Goethe indicated in WilhelmMeister.
Senn (Johann Michael), 1795-1857. A soldier and poetwho studied at the Convict, whence he was ejected in
1815 for taking part in an emeute, Senn being the ring-leader. Two of his lyrics are set by Schubert in op. 23(nos. 2 and 3) ; both striking songs.
Seyfried (Ignaz Ritter von), 1776-1841, a pupil of Mozart, andnative of Vienna. Wrote several dramatic pieces for the
Vienna theatre, of which he was director, while also
holding a position as Capellmeister.Singspiel, would now be termed Operetta. The music was
not of first importance in the early Singspiele. Neefe andReichardt were among the improvers of this peculiarlyGerman form.
Sonnleithner (Dr Ignaz Elder von) Rath, Advocate and Pro-
fessor in Vienna. During years 1815-24 held regular
meetings at his house where Schubert's music was muchcultivated.
Sonnleithner (Leopold), son of the preceding, was intimate
with Schubert from his earliest schooldays. He and his
father (with two others) were sponsors for the publicationof the "Erl-king" in 1821.
Spaun (Joseph Freihier von), 1788-1865. One of Schubert'searliest friends ; pupil of the "Convict," where he studiedLaw and Music. Author of the words of song
"Jungling
und der Tod," set by Schubert. He also helped to pre-serve his MSS. and Biographical material.
271
Schubert
Spendou (Josef). A doctor of Divinity, Privy-Councillor,Royal Commissioner for Schools, and chief superin-tendent, Vienna (1816). Schubert wrote a cantata in his
honour (op. 128).
Spina (Carl Anton), successor to Diabelli, Vienna publisher.
(1852). Original publisher of many of Schubert's works,and a great enthusiast.
Spontini (Gasparo Luigi Pacifico), 1774-1851. A considerable
operatic composer" La Vestale "
being perhaps his bestknown work.
Stadler (Albert), b. at Steyr, 1794. Studied music with
Weigl and Wawra. Met Schubert at the Convict, wherehe went to study law. An industrious composer, andintimate friend of Schubert.
Sullivan (Sir Arthur Seymour), b. 1842, at London. Mendels-sohn scholar 1856, Principal of National Training Schoolfor Music (the forerunner of R.C.M.) 1876-81. Prolific
composer of comic operas and much serious music
(" Golden Legend," Leeds, 1886). D. Nov. 1901.
Sze'che'nyi. Hungarian writer, two of whose songs ("Ab-gebliihte Linde " and "
Flug der Zeit ") Schubert set to
music in 1817.
Teyber (Anton), 1754-1822. A composer of chamber music in
Vienna.Tieze. One of the Schubert vocal quartet-party with Umlauff,
in 1821. The composer often accompanied his songs for
Tieze, who at the time was in the front rank of solo or
concerted singers.
Troyer (Count Ferdinand). A distinguished amateur clarin-
ettist, by whose order Schubert's Octet (op. 166) came to
be written. (1824).Umlauff (Michael), 1781-1842, a native of Vienna. Became
Weigl's colleague at the Opera-house. Beethoven had a
good opinion of him. Umlauff also knew Schubert.
Schuppanzigh and Umlauff were the chiefs of the
Akademien, founded by Beethoven in 1824, where the" Mass in D " and the " Ninth Symphony
" were first
produced.Vogl (Johann Michael), b. at Steyr, 1768. Became a great
272
Appendix Doperatic singer. After being pensioned off in 1822, hetook to Lieder singing, and, although thirty years older
than Schubert, became his companion and friend. Vogldied on November 19, 1840, on the twelfth anniversary ofSchubert's death.
Watteroth (Professor Watteroth von Draxler) a distinguishedVienna official, for whose name-day festival (in 1816)Schubert wrote the cantata " Prometheus "
;his first com-
position for money.Weber (Carl Maria von), 1786-1826. Weber visited Vienna in
1823 to conduct his "Euryanthe."Weigl (Josef), 1766-1846, a prolific Hungarian composer.
" Die Schweizerfamilie," produced at Vienna, 1809.
Weigl succeeded Salieri, as Hoftheater -Capellmeister,
1790.
Weingartner (Paul Felix), b. 1863 at Zara (Dalmatia). Studiedat Leipzig. Court Capellmeister at Berlin 1891, and at
Munich 1894. Eminent composer and distinguishedconductor.
Weiss (Franz), 1788-1830. Played the viola in the Rasoumow-sky Quartet.
Weissenwolf (Countess Sofie von) 1794-1847. Writing July25, 1825, Schubert says, "At Steyreck, we put up at theCountess Weissenwolf 's a great worshipper of my little-
ness; she has all my songs, many of which she sings
beautifully."Witasek (Johann Nepomuk), August 1771-1839. A Bohemian
who wrote dance music and much popular classical music.Became President of the Society for the Improvement ofChurch Music. Died at Prague.
Wttrfel, b. 1791, at Planim, Bohemia. Became Professor ofMusic at Warsaw, 1815, and in 1826 was elected Capell-meister of the Court theatre, Vienna. Wrote several
operas, including the well-known "Riibezahl."
Zelter (Carl Friedrich), 1758-1832, the famous Berlin com-poser. A friend of Goethe one hundred of whose songshe set to music.
Zierer (Franz), Professor of the Vienna Conservatorium andmember of the court opera band in 1826.
S 373
Schubert
Zumsteeg (Johann Rudolf), 1760-1802. Composer of operasand songs. He was much encouraged by the poetSchiller. In 1792 he became Capellmeister to the Dukeof Wiirtemberg. Schubert appears to have taken himfor a model in his first efforts in musical composition.
274
Index
ACQUAINTANCE, n, 89Adrast, 15, 157, 226Alfonso und Estrella, 38, 39 (foot-
note), 45, 46, 156, 157Alterations and revisions, 125, 126
Amusements, 109, noAntiphons, 162
Appearance, 8 1
Appendices :
A. Bibliographical, 229B. List of works, 239C. Principal incidents in life
of Schubert, 254D. Personalia and Memoranda,
255Appointment, Schubert seeks an,
16
Apprentice, a friendly joiner's-
apprentice, 3Atzenbruck, 37
BAUERNFELD, 17, 74, 75 (foot-
note), 76, 99, 117, 118, 255Barbaja, 39, 46, 255Beethoven, 7, 33, 39, 60, 61, 79,
92, 158, 174Beethoven's last illness, 61
Beethoven and Schubert's mutual
friends, 92Beethoven and Schubert meet, 39Beethoven studies Schubert's
songs, 60
Bibliography, Appendix A, 229Birth and Parentage, I
Birthday customs, 15Blue Hedgehog, At the sign of, 66
Bocklet, 68
Breitkopf & Haertel's edition of
the songs, 126, 127
Breitkopf & Haertel's final sup-plement, 223
Burgschaft, die, 249Burney, 226
Business-man, A bad, 106
CANDIDATE for a post, 16
Canons, 18
Centenary performances, 225Chalk music, 162
Chezy, 46, 102, 103, 256Clairvoyance, 123Claudine von Villabella, 157Clock, A musical, 49Coleridge, 146
Composing (Feats of), 64, 102,
124, 125
Composing (Manner of), 26, 123Composition, First, 4Composition, Last, 72, 152, 153Concert, Schubert's one, 158Concert-stuck, 223Conductor, Schubert applies for
post of, 56i Convict, 5, 7, 21, 87
275
Schubert
Counterpoint, 163, 177, 234Country resorts, 97Criticisms :
Liszt, 166
Parry, 166
Critic's discovery, 31
DANCE music, 94, 109, 164, 175Death, Schubert's, 77Dedication, 68
Dedications, Successful, 36Des Teufels Lustschloss, 10, 42Deutsche Messe, 250Diary of Schubert, 94, 113Dietrichstein, 8, 33, 37, 43Divertissement, 50Doppler, 9, 21, 102
Dream, Schubert's, III
Duport, 57
EARLY composition, 9, 18
Early training, 7
Embarrassments, Pecuniary, 105
England, Schubert's music in, 185
English songs, 141
Erl-king, 16, 35, 58, 63, 89,
126, 138-141, 186
Esterhazy, 22, 47, 49Eybler, 5, 55, 56, 160
FALKE, Der, 55Fantasia (Op. 15), 165, 175Feats, 26, 102, 124, 125, 147Fernando, 15, 249Fierrabras, 46, 192, 224, 226
Flute, 148 (footnote), 191
Forelle, Die, 125
Fragments, 223, 249Friends, II, 14, 17, 19, 87Friends' complimentary descrip-
tions, 8 1
Frohlichs, The, 32, 63, 64
Fugue, 68, 72, 234Fiihrer, 258Funeral, 78
GAHY, 19, 165Gebet, Mein, 104
Gesang der Geister, 89, 91, 223,226
Gift of the Musik-Verein, 57Goethe, 21, 29, 124, 141Graf von Gleichen, 74, 157, 158Grave memorials, 79Grillparzer, 33, 64, 79Grob, Therese, 14
Grove, Sir George, 188, 189, 204,
234Guitar, 91, 191
HABENECK, 187 (footnote), 206
Habits, Schubert's daily, 100
Hagar's Klage, 127Handel, 68
Hark, hark, the lark, 102
Haslinger, 149, 167Hausliche Krieg, Der, 44, 225Haydn, Josef, 73
Haydn, Michael, 54Health, Schubert in ill, 46Heine, 152, 153, 227Herbeck, 43, 44Herold, 57
Hiller, 62, 144Holz, 73Holzapfel, II
Holzer, 3, 160
Hospital, Music composed in, 124
147 (footnote)
Hummel, 62, 144Humour, Schubert's, 109
Hiittenbrenner, Anselm, 19, 39,93Hiittenbrenner, Josef, 42, 84, 93,
"5
276
Index
ILLNESS, Beethoven's last, 61
Illness, Schubert's, 46Illness, Schubert's mortal, 72, 75
Impromptus, 175Incidents in the life of Schubert,
Appendix C, 254Instrumentation, 192-222
JENGER, 64, 65, 70Jokes, Fondness for, 109
Jubilee, Salieri's, 17, 96Junge Nonne (Die), 51, 55
KENNER, 11, 86Korner (Theodor), 12
Kozeluch, 7
Kreissle, 231Kreutzer, 263Kroff, Herr, 186
Krommer, 7
Kupelwieser, 44, 46, 51, 117, 165
LABLACHE, 63, 263Lachner, Franz, 70, 74, 149,
162Last appearance of Schubert in
public, 73Last composition, 152
Laugh, Schubert's, 109Lazarus, 30, 161
Leader of an orchestra, Schubert
as, 8
L'Envoi, 226Letters of Schuberfs :
1
1812, Nov. 24, Vienna, Ferd.
Schubert, 6
1818, Feb. 21, J. Hiittenbren-
ner, 125,, Aug. 3, Zelesz, Schober,22
Letters continued
1818, Aug. 24, Zelesz, Ferd.
Schubert, 24,, Sept. 1 8, Zelesz, Schober,23, 24
1819, (?) J. Hiittenbren-
ner, 93,, May 19, A. Huttenbren-
ner, 25,, July 15, Steyr, Ferd. Schu-
bert, 27,, Aug. 19, Linz, Mayrhofer,27,28
1821, Nov. 2,Vienna, Spaun, 381822, (?), Josef Huttenbrenner
(quoted by Kreissle), a four-
line note of little consequence,, Oct. 31, Vienna, Hiitten-
brenner (MS. was in pos-session of Grove)
1823, Feb. 28, Vienna, von
Mosel, 46,, Nov. 30, Vienna, Schober
(printed in Die Presse}
1824, Mar. 31, Vienna, Kupel-wieser, 46, 117
July 16-18, Zelesz, Ferd.
Schubert, 49, 50"Sept. 21, , Schober
1825, July 21, Linz, Spaun(quoted by Kreissle)
July 25, Steyr, to his
parents, 141, 164,, July (?), Gmunden, to his
parents, 52, 53,, (?), Gmunden, Steiger,, Sept. 12-21, Gmunden,Ferd. Schubert, 53,, Sept. 18-19, Steyr, Bauern-
feld, 117
1 A complete list of Schubert's known letters is here given. Where no page is
set down no quotations have been made.
277
Schubert
Letters continued
1825, Oct. 10, Vienna, Musik-Verein Committee
1826, May, Vienna, Bauern-feld and Mayrhofer
1827, June 12, Vienna, Mad.Pachler, 149.. June 13, Vienna, Commit-tee of Musik-Verein
,, Sept. 27, Vienna, Herr|
Pachler
,, Oct. 12, Vienna, MadamePachler, 66
1828, Jan. 18, Vienna, A. Hiit-
tenbrenner, 67
April 10, Vienna, Probst,68
,, Sept. 25, Vienna, Jenger,71, 150,, (?) (?), Sonnleithner
,, Nov. n, Vienna, Schober,
75Librettists, 134, 157Liszt, 33, 39, 88
Lodgings, Schubert's last, 73Love Affair, 98
MAN, Schubert the, 81
Manns, 187, 188
Manuscripts recovered throughGrove and Manns, 189
Mass in F, 14, 160Mass in E flat, 162Mass in C, 24Masses, 164, 238Mayrhofer, the poet, 14, 17, 24,
157Mehul, 7Memoranda and Personalia,
Appendix D, 255Mendelssohn, 187
Milder, Anna, 265
Minstrels, Schubert and Voglas, 52Miriam, Song of, 162, 226Mistress and maid, 98Money transactions, A first trans-
action, 1 8, 96Money transactions, Some details
of, 106
Monument, Schubert's, 108
Mozart, 7, 95, 125, 129Miiller, Sofie, 51, 101
Music at the Convict, 7, 87Music in place of dinner, 26Music in England, 185Musician, Schubert the, 121
Musik-Verein, Gift of the, 58
NEUMANN, 266
Newspaper notices, 29, 31, 131,
i85Nicknames, III
Nourrit, 266Nur wer die Sehnsucht, 126, 271
OCTET, 16, 51, 191
Offertorium, 224Opera, 10, 43, 156Operas, Two for nothing, 47
Operatic performances, 30Oratorio in secret, 161
Orchestra (Leader of), 8
Ossian songs, 141Overtures, 192
PACHLER, 59, 64, 65, 149
Paganini, 69Parody of Erl-king, 27
Parents, 2
Patronage, 227
Pecuniary embarrassments, 105,
117Personalia and memoranda (Ap-
pendix D), 255
278
Index
Pianist, Schubert as, 164, 165Pianist's point of view, 166
Pianoforte-playing, 164Pinterics, 92, 93Poet, Schubert as, 103Poets' settings, 134Portraits, 82Press notices, 29, 31, 131, 185Prometheus, 89Principal incidents in his Life
(Appendix C), 254Psalms, xxiii., 32, 162; xcii., 72Public appearances, first, 14 ; last,
73, 158Publications, first, 35 ; last, 75Publishers, 106, 256Publishers' ways, 42Purcell, 129
QUARTETS at Schubert's home,121
Quartet, The home quartet growsto an orchestra, 12 1
QuartetsA minor, (op. 29), 176Eflat, (op. 125, No. i), 178E major, (op. 125, No. 2), 179D minor, (Posthumous), 180G major, (op. 161), 181B flat, (op. 1 68), 183G minor, 184D major, 184Quartet Satz (C minor), 185
Quintet, 192
RANDHEIRTINGER, 139, 140, 147Reichardt, 127, 129, 130, 131,
141
Religion, 85Rellstab, 152, 153Revisions and corrections, 125Rochlitz, 67, 115
Romance, A first, 14Rooms, 17Rooms in common, 117Rosamunde, 31 (footnote), 46,
189, 225Rossini, 20, 21
Ruczizka, 8, 9, 139, 155
SACRED Music, 160
Sakuntala, 32Salieri, 9, 16, 17, 21, 55Salieri's jubilee, 17
Salzburg, 54Scene at an opera rehearsal, 56Schechner, 56Schellmann girls, 27Schiller, 21
Schindler, 39, 118
Schober, 17, 23, 38, 74, 75Schone Miillerin, Die, 23, 147Schonstein, 23, 49, 71, 88, 97School friends, 1 1
Schroder, Devrient, 186, 270Schubert, Ferdinand, 2, 3, 6, 49,
61, 76, 77, 92, 103Schubert, Franz :
Business man, 106
Character, 83Circumstances, 105-9Concert, 158Country visits, 22, 97Diary, 94, 113Dream, inEffects, 119, 1 20
Family quartet grows to an
orchestra, 121
Feats, 26, 102, 124, 125, 147Joker, noLaugh, 109Mass, his first, 14Music in England, 185
Operas, 15, 156
279
Schubert
Franz Schubert continued
Pianist, 164Poet, 103-5Poets set by Schubert, 134-7Publications, 35 (see also
Appendix B)Quartets, 175-185Revisions and corrections, 125Sacred music, 160
Singers, 90 (footnote)
Song-writing, 127
Symphonies, 192Tastes, Literary, 116
Theorists' view of, 166
Trios, 223Why he failed in opera, 157
Schubert, Franz senior, 3, 17,
77Schubert, Ignaz, 2, 3, 4, 23, 104,
"3Schubertiaden, 38, 93Schumann, 99Schuppanzigh, 176
Schwanengesang, 152Schwindt, 47, 63, 117Scott, Sir Walter, 51, 54, 141-3Sechter, 185Senn, 55
Shakespeare, 143, 220Sketch of a symphony, 204SonatasG major, 167D major, 172A minor, 173E flat, 224
Songs, first in public (Jager), 261
Songs at tenpence each, 70, 107,
149Songs, Breitkopf & Haertel's
edition, 126, 127
Songs, English, 141
Song-writing, 127
Sonnleithners, The, 89Spaun, 7, 17, 19
Spiegelritter, Der, 15Stadler, II
Stage influence of, 10
Standchen, 164, 226
String quartets, 175-185Supplement final, of Breitkopf &
Haertel, 223
Symphonies1, . . 1922, . . 1943, 1964, . . 199
5, . . 200
6, . . 202
7 (" The great C major), 187,
188, 206-2148 ("The Unfinished "), 214-
222
TANTUM ERGO, 224Taverns, IOI
Tastes, Literary, 116
Teacher, Schubert becomes, 13Teufels Lustschloss, 10, 42Testimonials, Ornamental, 33Thayer, 56Themes from a Hungarian kit-
chen, 50Theorist's point of view, 166
Thule, King of, 129Toast, A tragic, 61
Treasure Trove, 188, 189Trio for 175. 6d., 68Trios (for Strings), 223Troyer, 51
UMLAUFF, 90, 91.Unfinished symphony, 43, 214
VALLEY, A heavenly, 54
280
Index
Variations (op. 10), 33, 175Die Forelle, 28, 192
Verschworenen (Die), 44, 156Vienna, 99Vierjahrige Posten (Der), 15, 156,
157. 225Virtuoso, 165Vogl, 19, 20, 52, 56
WALTZES, noWanderer, 91, 239Weber in Vienna, 39, 44Weber, Schubert meets, 44Weigl, 10, 25, 56Weingartner's opinion, 214Winterreise, 75, 83, 149Works (Appendix B), 239Arrangements, 261 (J. Hiitten-
brenner)
Concerto, 253Cantata, 106
Lieder, 127
Works continued
Masses, 14, 160, 162
Octet, 16, 51, 191
Opera, 15, 156Oratorio, 161
Overtures, 31, 192Quartets, 175, 185Quintet, 192Sonatas, 167-174
Symphonies, 192Trios, 68, 223Variations, 175
Wiirfel, 273
YEAR, Schubert's last, 67
ZAUBERHARFE, 30, 31, 226
Zelter, 129, 130, 131Zuleika's song, 240 (op. 14)
Zumsteeg, 127, 128
Zwerg (Der), 124
Zwillingsbruder, 30, 156
281
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